Music A Level Handbook

Name:

Teacher:

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Congratulations!

You have completed your GCSE’s and now you’re embarking on an even more exciting and challenging

journey into the depths of A level Music!

Your teachers will be:

You’ll find yourselves stuck at some times when composing, listening, performing or writing your essays –

but do not worry! Ask your teachers for help when you need it- don’t struggle alone!

If you use this book as instructed, research and read around your set works and other units, listen carefully

to your teachers’ advice, you will hit your target grade or above. We hope you enjoy the course as much as

we do – we’re looking forward to teaching you for two years.

Good luck!

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Contents

Content Sub sections Page number

1. What exams to expect 4

2. Important Dates 5

3. Feedback from Tests 6-9 4. Specification Content 11-22

Component 1: Appraisal 11-13

Component 2: Performance inc. Performing log

14-19

Component 3 : Composition 20-22

5. Theory Content

Pre- A level theory 1: Texture 2: Instruments and the score 3: Rhythm 4: Harmony 5: Tonality 6: Melody 7: Form and structure

24-56 24-30 31-34 35-42 43 44-47 48-50 51-54 55-56

6. Marking criteria for component One

Also including specimen questions and sample answers, command words, music vocabulary and suggested further listening

57-86

7. Reading list/ Useful websites 87

8. Resources 87 9. Music Expectations at A level 88

10. Homework monitoring 89-92 11. Personal statement log 93

Minimum Target Grade

Challenge Target Grade

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1. What Exams to Expect

As part of your A level you will be expected to develop the following skills:

Theoretical understanding

Listening

Writing essays about music

Composing

Performing

A Level Examinations

Component 1

Appraising Music

2 hours 30 minutes written examination

(40% of A Level: 120 marks)

Component 2

Performance

A minimum of 10 minutes solo or ensemble

Externally Assessed Coursework

(35% of A Level: 50 marks)

Component 3

Composition

Composition 1: to a brief (25 marks)

Composition 2: Free (25 marks)

Externally Assessed Coursework

(25% of A Level: 50 marks)

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2. Important Dates

Minimum target grade: Type of Assignment

Specific content Date Raw Mark % Grade

Theory test

Performance deadline

Composition deadline

Year 12 Set work tests and essays

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Year 12 Mock Listening Papers

Past Paper 1

Past Paper 2

Past Paper 3

Mock

Year 12 Mock Exam Section A: Listening – 56 marks Section B: Analysis – 34 marks Section C: Essay – 30 marks

Year 13 Set work tests and essays

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Year 13 Mock Listening Papers

Past Paper 1

Past Paper 2

Past Paper 3

Mock

A level External exam

Section A: Listening – 56 marks Section B: Analysis – 34 marks Section C: Essay – 30 marks

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3. Feedback from Tests

After each test or essay, your teacher will give you written or verbal feedback, you must make a note of it

here. The premise is that you will act on this feedback. We may check your actions on feedback at any

time.

Assessment Feedback Action Taken

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4. Specification Content and Criteria

Component 1: Appraisal (listening and set works) p.11-13 Component 2: Performing p.14-19 (including performance log/ feedback) Component 3: Composing p.20-22

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Component 1: Appraisal (Set Works and Listening Paper)

Students must study:

Area of study 1: Western classical tradition 1650-1910 and choose two remaining topics. At HGS we will study:

Area of Study 4 – Music for theatre

Area of Study 5 – Jazz Western classical strands:

Baroque: the solo concerto

Classical: the operas of Mozart

Romantic: the piano music of Chopin, Brahms and Grieg Assessment will be by written paper with some questions using a CD of musical excerpts. The examination paper will be marked by AQA examiners. The question paper will have three sections. Section A: Listening – 56 marks (65mins) Students must be able to listen attentively to unfamiliar music, from all the named artists in each of the three Western classical strands and the jazz and musical areas, to identify and accurately describe musical elements and use musical language (including staff notation, for tasks such as dictation). You will need to answer one set of questions linked to AOS1: Western classical, including aural dictation, one set of questions on jazz and another set on musicals. Students have a CD each and can control number of playings. Section B: Analysis [Western Classical Music]–34 marks (40mins) For two of the strands, students must also be able to critically appraise music through analysing excerpts from the set works using knowledge and understanding of:

The effect of audience, time and place on how the set works were created, developed and performed

How and why the music across the selected strand is different

How the composer’s purpose and intention for the set works is reflected in their use of musical elements

Relevant musical vocabulary and terminology for the set works

The complex interdependencies between musical elements

The sophisticated connections between music and its context.

Here you will answer two sets of questions – both short and long answers on two extracts from the set works and a further two sets of questions from the two selected strands. Scores of the extracts will be included. Set works: Strand A (Baroque solo concerto): - Purcell – Sonata for trumpet and strings in D major Z.850 - Vivaldi – Flute concerto in D Il Gardellino op.10 no.3 RV428 - Bach – Violin concerto in A minor BWV1041

Strand B (The operas of Mozart): Le Nozze di Figaro k.492, Act 1 - Overture - No.1 Duettino (Figaro and Susanna, including following recit.) - No.3 Cavatina (Figaro, including the previous recit.) - No.4 Aria (Bartolo) - No.5 Duettino (Susanna and Marcellina) - No.6 Aria (Cherubino) - No.7 Terzetto (Susanna, Basilio, Count) - No.9 Aria (Figaro) Strand C (The piano music of Chopin, Brahms and Grieg): - Chopin – Ballade no.2 in F major op.38 - Chopin – Nocturne in E minor op/72 no.1 - Brahms – Intermezzo in A major op.118 no.2 - Brahms – Ballade in G minor op.118 no.3 - Grieg – Norwegian march op.54 no.2 - Grieg – Notturno op.54 no.4 Section C: Essay [Jazz and Musical Theatre] – 30 marks (45mins) One essay question will be set on one of these topics. For three of the named artists from jazz and musical theatre strands, students must also be able to critically appraise music using knowledge and understanding of:

How the artists’/ composers’ use of musical elements for at least two published works reflects the style of the genre and their purpose and intentions for the work

How the style of the artists’/ composers’ music has varied over time through comparison of published works

Musical vocabulary and terminology relevant to the work and Area of study.

Named artists: AOS4: Music for Theatre - Kurt Weill - Richard Rogers - Stephen Sondheim - Claude-Michel Schönberg - Jason Robert Brown AOS5: Jazz - Louis Armstrong - Duke Ellington - Charlie Parker - Miles Davis - Pat Metheny - Gwilym Simcock BOTH SECTION B AND SECTION C MUST BE WRITTEN IN PROSE. Study for all three sections will involve listening to music from within the two AoS, study of scores and gaining an awareness of the context in which the music was composed.

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Musical Elements you will need for your written exam: Element Type Element

Melody Contour – ascending, descending, stepwise, conjunct, disjunct, scalic, triadic and arpeggio, angular

Intervals, including compound intervals

Phrase length – equal, unequal and balance

Ornaments – trill, mordent, turn, acciaccatura and appoggiatura

Passing notes – accented, unaccented and chromatic

Auxiliary notes – upper, lower and chromatic

Note of anticipation

Echappée note

Portamento

Melodic devices – sequence, motif, fragmentation, repetition, intervallic augmentation and diminution.

Pitch bend, slide, glissando, smear, spill/ fall-off, rip

Melisma, syllabic

leitmotif

Harmony Consonant and dissonant

Diatonic – primary and secondary triads, dominant 7th and all inversions

Chromatic – diminished 7th, secondary dominant 7th, substitution chords (borrowing from opposite mode), chord of the Neapolitan, Neapolitan 6th and augmented 6th chords (Italian, German, French)

Cadences – perfect, imperfect, interrupted, plagal, half close, Phrygian and tierce de Picardie

Circle of 5ths progression, harmonic sequence

Pedal notes – tonic, dominant, inverted and inner

Suspensions (4-3, 7-6, 9-8 and bass), preparation and resolution

Cadential 6/4

Power chords, sus 4th chords

Chord extensions – secondary 7th, 9th, 11th, 13th, added 2nd, 6th , sus 4th

Chord symbols eg C/E, C7, Cø and C+.

Substitution (especially triton substitution)

Commonly used jazz harmony symbols

Turn-around

Tonality Major, minor, and their key signatures

Modulation to dominant, subdominant, and their relatives, also to tonic minor, relative minor and tertiary keys

Enharmonic keys

Modality

Blue notes

Blues scale

Diminished (octatonic) scale

Knowledge of specific modes for modal jazz

Structure Binary, rounded binary and ternary

Ritornello and episode

Sonata form

Through-composed

Introduction and coda/ outro

Recitative and aria

Foursquare

Antecedent and consequent phrases

Ostinato

Bridge/ instrumental/ middle 8

Verse/ chorus

12 bar blues

Song form/ standard form

Head

Fours

break

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Sonority

(Timbre)

Standard orchestral and vocal types

Basso continuo

Pizzicato, arco, col legno, con sordino, sul ponticello, sul tasto and double stopping

Sotto voce, vibrato

Una corda, pedalling

Studio/ technological effects eg reverb

Standard contemporary instrumental types eg electric guitar, synthesisers

Vocal timbres eg falsetto, belt, rap

Specific instrumental techniques eg slap bass, tremolo, growl/ talking trumpet, rim shot

Harmon mute, wah-wah mute

Ghosted notes

Standard big band instruments

Texture Solo, monophonic, unison, octaves, parallel 3rds

Melody and accompaniment, homophonic, chordal

Polyphonic, contrapuntal, imitative, fugal

Antiphonal

Trio sonata texture

Polarised

Countermelody, descant

Canon

A capella

Colla voce

heterophonic

Tempo, metre

and rhythm

Simple and compound time

Common Italian tempo terms including ritenuto, rallentando and accelerando

Rubato, pause

Syncopation, hemiola, cross-rhythm, motor-rhythm

Bpm (beats per minute)

Mm (metronome marking)

Irregular metre

Swing and straight rhythm

Push and drag

Double time

Ametrical

Stop time

Riff

Dynamics/

articulation

Common Italian dynamic terms including sfz and fp

Accent, tenuto, staccato, marcato, legato

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Component 2: A level Performance- Content

Students will be assessed on how they interpret musical ideas through performing, with technical and expressive control and an understanding of style and context. Candidates must offer a minimum of 10 minutes (less than this will result in a mark of 0) of performances chosen from the following: (a) a solo performance on an instrument/ voice (b) an ensemble performance or (c) production: via music technology Recordings will take place between 1st March and Easter holidays in Year 13. This unit will be externally assessed and externally moderated. For each performance, candidates may submit a single piece or a programme of shorter pieces. Candidates must submit a score with the recording of their performance and a Candidate Record Form (CRF). Instrumental/ vocal grades refer to nationally recognised accredited music grades. The Performance is assessed on:

Ambition of project (5 marks)

Technical control (15 marks)

Expressive control (15 marks)

Performance quality (15 marks) Total marks – 50

Component 2: A level Performance Assessment Criteria

Ambition of project

Mark Instrumental/ Vocal Production 5 The chosen programme will make high musical and technical demands.

The standard expected will be greater than grade seven or its equivalent and will demonstrate considerable expressive variety across the programme.

The chosen programme will demonstrate a highly complex texture and considerable expressive variety.

4 The chosen programme will make a substantial range of musical and/ or technical demands.

The standard expected will equate to grade seven or its equivalent with expressive variety across the programme or greater than grade seven or its equivalent without expressive variety.

The chosen programme will demonstrate complex texture and expressive variety.

3 The chosen programme will make a reasonable range of musical and/ or technical demands.

The standard expected will equate to grade six or its equivalent with expressive variety across the programme or equate to grade seven or its equivalent without expressive variety.

The chosen programme will demonstrate moderately complex texture and some degree of expressive variety.

2 The chosen programme will make a range of musical and/ or technical demands.

The standard expected will equate to grade six or its equivalent without expressive variety.

The chosen programme will feature relatively simple texture and demonstrate little or no expressive variety.

1 The chosen programme will make some musical or technical demands upon the student.

The standard expected will equate to grade five or its equivalent with expressive variety across the programme.

The chosen programme will demonstrate rudimentary texture and basic skills.

0 No work submitted or not worthy of credit.

Technical Control Mark Instrumental/ Vocal Production 13-15 At the top of the band there will be no discernible flaws and

pitch/ intonation will be completely secure

Towards the bottom of the band inaccuracies will be limited to small but noticeable errors

A performance which is entirely fluent and rhythmically secure, without any hesitations

The techniques demanded are fully mastered with a mature tone quality across the whole range.

Excellent accuracy if pitch and control of all rhythmic elements to produce a musically satisfying recording

Detailed and musically effective articulation and phrasing

Well considered choice and placement of microphones which have produced clear, clean capture for all tracks with no noise or distortion.

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10-12 A performance which is generally accurate in pitch and security of intonation

Rhythmically stable with only a few small errors not affecting the overall fluency

Tone production is generally good but the quality suffers at the extremities of the pitch range, or at moments of technical difficulty, or is uneven between registers

Techniques demanded by the music are met.

A few minor slips which do not inhibit the overall musicality or fluency of the recording

Close attention to all performance detail with effective articulation and phrasing

Appropriate choice and placement of microphones, a few tracks have occasional clipping or a slight noise.

7-9 A performance which is achieves consistency of pitch overall with reasonably secure intonation

Weaknesses of rhythm or pulse may be evident

Evidence of good tone quality over most of the pitch range but with occasional weaknesses

In general techniques demands are met but there will be evidence of loss of integrity.

Slips in pitch and rhythm become increasingly frequent interrupting the fluency of the recording

Generally effective articulation and phrasing

Largely appropriate choice and placement of microphones, however some tracks are not captured cleanly.

4-6 A performance in which the basic outline of the music is appreciable but either errors of pitch are significant and intonation may be consistently flat or sharp or rhythmic problems are sufficient enough to interrupt the flow.

Tone produced is inhibited, with only some technical demands being met.

More significant errors in pitch and rhythm affecting the overall sense of ensemble

Some attempts, which are not always successful, to create articulation and phrasing

Some appropriate choice of microphones but not all placement is appropriate

There is likely to be some intrusive noise or distortion.

1-3 A performance which achieves limited consistency of pitch and rhythm or fluency

Accuracy is only evident in the more straightforward passages

Intonation is rarely secure and is inconsistent

Technique and tone production are problematic.

Significant lapses in the accuracy of pitch and rhythm resulting in an unmusical performance

Mechanical with limited attention to articulation and phrasing

Poor microphone choice and placement results in a noisy and problematic recording.

0 No work submitted or worthy of credit.

Expressive control Mark Instrumental/ Vocal Production 13-15 A highly musical performance in which tempo is entirely

appropriate throughout

The composer’s expressive and performance directions have been fully observed resulting in accurate, effective and broad-ranging dynamics, phrasing and articulation

subtlety and control will be a feature at the top of the band

well-chosen timbres which have been appropriately edited

excellent management of dynamics in ways completely appropriate to the music

dynamic shaping appropriately used

compressions and EQ have been used appropriately to good effect

10-12 musical performance in which the main chosen tempi are appropriate, but there are one or two misjudged moments

the majority of the composer’s expressive and performance directions have been carefully observed

dynamics, phrasing and articulation are successfully varied and mostly effective

appropriate choice of timbres but without further editing

good overall dynamic contrast but lacks some shaping

some occasional miscalculations of over or under use of compression so tracks do not sit well in the mix

there are some slight errors in the use of EQ.

7-9 a performance in which the main chosen tempi are slightly misjudged and the performance mechanical on occasion

the composer’s expressive and performance directions have been largely observed and phrases are generally well shaped

articulation and dynamics are mostly accurate, if rather bland.

The majority of chosen timbres are appropriate

Some misjudgements with dynamic contrast and shaping

There are some occasional intrusive misjudgements with the use of compression and more frequent errors in the application of EQ.

4-6 A performance in which the main chosen tempi are generally misjudged and the performance is very mechanical

There is a basic control of phrasing, articulation and dynamics; these are often misjudged

Partially successful choice of timbres

Sections where attempts to create dynamic contrast and/ or the dynamic processing is misjudged and EQ has been applied inconsistently.

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1-3 The main chosen tempi are inappropriate

There is little or no application of dynamics, phrasing and articulation.

Chosen timbres are largely inappropriate

Limited dynamic contrasts

A mechanical or unmusical result

Limited or no use of dynamic processing and EQ.

0 No work submitted or worthy of credit.

Performance Quality

Mark Instrumental/ Vocal Production 13-15 An engaging and commanding performance in which the student

demonstrates total involvement in the music with real flair

A mature and sensitive understanding of both period and style is evident; communicated through an assured, convincing and well-projected performance.

Complete awareness of the stylistic requirements of the music including musical shaping

Excellent sense of balance and effectively blended throughout the recording

Musically appropriate use of the stereo field

Excellent and judicious use of stylistically appropriate effects.

10-12 Performance which is mostly commanding and convincing

There is clear commitment and the performance is mostly assured

A good sense of style is evident but there is lack of individual flair.

A consistent sense of style with attention to musical detail

Most tracks are well balanced and blended with some minor slips

Effective placement in the stereo field

Well controlled use of appropriate effects.

7-9 A performance which demonstrates some level of commitment but lack an overall assurance

There is still an overall sense of conviction

The style of the music is appropriate with a clear sense of character

Broadly successful creation of the required style

More frequent miscalculations as to balance and blend

Largely effective use of the stereo field but with some misjudgements

Occasional miscalculations as to the use of effects.

4-6 A performance which lacks conviction and commitment on occasions

There is limited sensitivity to the demands of the music although there is a general understanding of the overall character.

Some sense of the required style but achieved inconsistently

There are also inconsistencies in balance and blend with key tracks or features obscured

Largely inappropriate use of the stereo field

Inconsistency in the application of effects.

1-3 A performance which is limited in conviction and displays rudimentary sensitivity to the style of the music

There is a limited sense of assurance leading to an anxious experience for performer and listener.

Limited sense of style with little attention to musical detail

Poorly balanced resulting in a misjudged final product

Little or no use of the stereo field

Inappropriate use of effects.

0 No work submitted or worthy of credit.

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A level Performance feedback and log

Here is a space for you and your teacher to make comments on the progress of your solo/

ensemble or production performances:

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Component 3: Creating Musical Ideas (Composition): Content

Composition is externally marked by AQA out of 50. Each student must compose two pieces. One composition must be in response to an externally set brief and the other composition is freely composed by the student. Together the compositions must last a combined minimum time of four and a half minutes. Compositions not meeting this time will be awarded 0 marks. Composition 1: Composition to a brief The composition must be in response to one brief from a choice of seven externally set briefs. The briefs will be released on or as near as possible to 15 September in Year 13. The briefs may include different stimuli, such as: A poem or a piece of text Photographs, images or film Notation Composition 2: Free composition Free compositions need not reference areas of study or a given brief. All compositions must be recorded (this includes mp3 exports from Sibelius) and the candidate name and number must be spoken by the candidate at the start of each recording. Each candidate must provide written evidence in the form of a programme note (approx. 150 words) to support their composition, as well as a completed CRF and score. You must complete your composition whilst being supervised by your teacher.

Component 3: Creating Musical Ideas (Composition): Assessment criteria

Composition 1: Composition to a brief

Mark Composition 1: composition to a brief

Requirements Brief 1 - Chorales

Requirements Briefs 2-7

21-25 An authoritative composition

Lower marks in the band suggest some less imaginative elements or passage, and/or some inconsistencies in the supporting written material.

Stylistic detail is evident throughout, using imaginative and interesting features

Cadences are varied and there is an inventive exploration of keys

A wide variety of chords is used fluently and with few significant errors

Grammatical errors are insignificant and part-writing is fluent and sophisticated.

The composition has a sustained mastery of technical control

The quality of contrasting ideas and their development creates a commanding structure that is more than just a standard form, providing a musical journey

Musical elements are used with flair and imagination, complementing each other with strong creative purpose to give a consistently fluent and successful result

The style of the composition is convincing, fluent and used perceptively to give a compelling musical experience

Imaginative use of the brief fundamentally informs the composition

The music is communicated fluently on paper with comprehensive score or commanding annotation.

16-20 A confident composition

Higher marks in the band represent music that has some signs of imagination

Lower marks in the band suggest greater inconsistencies in

There is interesting stylistic detail but the result is secure rather than imaginative

Main keys and cadences are well-chosen but there is scope for more interest and variety, for example with passing modulation

The composition has a largely successful technical control

The quality of contrasting ideas and/ or their development has led to a successful musical structure

Musical elements are used with variety and secure handling, though some may be used with more creative purpose than others, combining to give a largely successful, if not always consistent, result

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technical control and/or elements of the style.

Chord choice is mostly secure and varied with some adventurous moments

Some grammatical errors occur but they have little effect on the aural result

Part-writing has melodic direction and few difficulties.

The style of the composition is assured and used proficiently to give a clear musical experience

Interesting use of the brief significantly informs the composition

The music is communicated clearly on paper with a good score or helpful annotation, despite some imprecision

This band may also be appropriate for compositions of top band compositional quality which have very weak supporting written material (score or annotation)

11-15 A secure composition

Higher marks in the band represent music that has some signs of creative exploration or a superior score/ annotation

Lower marks in the band suggest greater concerns with technical control, little creative exploration or a less convincing sense of style.

Stylistic awareness is evident at times, but inconsistently, throughout the composition

Cadences are largely effective despite some errors; key choices may lack some variety

Chord choice is often suitable but there will be errors and some lack of variety

There is some awareness of part-writing, but errors are frequent, and there is a lack of interest.

The composition has largely competent technical control

There is a clear musical structure, though this may lack effective contrast or development of ideas

Musical elements are used with moderate effectiveness and some control, providing evidence of creative purpose, which is not always fully explored or realised, to give a partially successful result

The style of the composition is evident but used in a generic manner to give a predictable musical experience

Satisfactory use of the brief informs the composition

The music is communicated on paper through a score or annotation, but not always clearly, accurately or with sufficient detail.

6-10 A composition of some limitations

Higher marks in the band represent music that has more signs of technical competence and/ or a stronger sense of intended style

Lower marks in the band suggest serious concerns regarding technical control, or music with no discernible sense of style.

Stylistic awareness is apparent only occasionally

Some understanding of cadences, but errors frequently occur and the key is insecure at times

Chord choice is weak and progression is often ineffective

errors are significant but a few passages have successful part-writing.

The composition has some persistent issues with technical control

There are some signs of a musical structure, but these are not always clear

Musical elements are used with some effectiveness, but there are sustained difficulties in some aspects and little sense of creative purpose leading to a composition of limited success

There is evidence of an intended style in the composition but this is dilute, inconsistent or ineffectively contradictory, leading to a restricted musical experience

Limited use of the brief evident at times

The music is only partially communicated on paper through an incomplete, confusing or only outline version provided as score or annotation.

1-5 A rudimentary composition

Higher marks in the band represent music that has few signs of musical awareness

Lower marks in the band represent compositions that have strongly random elements and/or are very simplistic, scant or short.

There is no evidence of stylistic awareness

Important key centres have not been grasped; cadences are mostly inaccurate

Chords are often incomplete, inaccurate or inappropriate

Errors are frequent and there is little awareness of part-writing.

The composition is dominated by issues with technical control

There is little or no evidence of musical structure

Musical elements are used with little control, making genuine creative intentions hard to discern in a rudimentary or confused result

There is no sense of style evident in the composition, leading to a lack of musical experience

Rudimentary use is made of the brief

The written material in no way enhances the composition and is likely to be poor in its detail and layout (whether score or annotation).

0 No work submitted or worthy of credit

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Composition 2: Free Composition

Mark Composition 2: Free composition

Requirements

21-25 An authoritative composition

Lower marks in the band suggest some less imaginative elements or passages, and/or some inconsistencies in the supporting written material.

The composition has a sustained mastery of technical control

The quality of contrasting ideas and their development creates a commanding structure that is more than just a standard form, providing a musical journey

Musical elements are used with flair and imagination, complementing each other with strong creative purpose to give a consistently fluent and successful result

The style of the composition is convincing, fluent and used perceptively to give a compelling musical experience

The music is communicated fluently on paper with comprehensive score or commanding annotation.

16-20 A confident composition

Higher marks in the band represent music that has some signs of imagination

Lower marks in the band suggest greater inconsistencies in technical control and/ or elements of the style

The composition has a largely successful technical control

The quality of contrasting ideas and/or their development has led to a successful musical structure

Musical elements are used with variety and secure handling, though some may be used with more creative purpose than others, combining to give a largely successful, if not always consistent, result

The style of the composition is assured and used proficiently to give a clear musical experience

The music is communicated clearly on paper with a good score or helpful annotation, despite some imprecision

This band may also be appropriate for compositions of top band compositional quality which have very weak supporting written material (score or annotation).

11-15 A secure composition

Higher marks in the band represent music that has some signs of creative exploration or a superior score/ annotation

Lower marks in the band suggest greater concerns with technical control, little creative exploration or a less convincing sense of style

The composition has largely competent technical control

There is a clear musical structure, though this may lack effective contrast or development of ideas

Musical elements are used with moderate effectiveness and some control, providing evidence of creative purpose, which is not always fully explored or realised, to give a partially successful result

The style of the composition is evident but used in a generic manner to give a predictable musical experience

The music is communicated on paper through a score or annotation, but not always clearly, accurately or with sufficient detail.

6-10 A composition of some limitations

Higher marks in the band represent music that has more signs of technical competence and/ or a stronger sense of intended style

Lower marks in the band suggest serious concerns regarding technical control, or music with no discernible sense of style.

The composition has some persistent issues with technical control

There are some signs of a musical structure, but these are not always clear

Musical elements are used with some effectiveness, but there are sustained difficulties in some aspects and little sense of creative purpose leading to a composition of limited success

There is evidence of an intended style in the composition but this is dilute, inconsistent or ineffectively contradictory, leading to a restricted musical experience

The music is only partially communicated on paper through an incomplete, confusing or only outline version provided as score or annotation.

1-5 A rudimentary composition

Higher marks in the band represent music that has few signs of musical awareness

Lower marks in the band represent compositions that have strongly random elements and/or are very simplistic, scant or short.

The composition is dominated by issues with technical control

There is little or no evidence of musical structure

Musical elements are used with little control, making genuine creative intentions hard to discern in a rudimentary or confused result

There is no sense of style evident in the composition, leading to a lack of musical experience

The written material in no way enhances the composition and is likely to be poor in its detail and layout (whether score or annotation).

0 No work submitted or worthy of credit

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5. THEORY CONTENT FOR A LEVEL MUSIC

Pre- A level theory content p.24-30

A level music theory –

1: Texture p.31-34

2: Instruments and the Score p.35-42

3: Rhythm p.43

4: Harmony p.44-47

5: Tonality p.48-50

6: Melody p.51-54

7: Form and Structure p.55-56

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Pre-A level Theory Content

Notes of the treble clef, bass clef, tenor clef and alto clef.

TREBLE CLEF:

BASS CLEF:

ALTO CLEF-used by violas

TENOR CLEF- used occasionally by trombone and bassoon

Note values, rests, time signatures

Accidentals

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Intervals

a. Tones and semitones C# D# F# G# A# Db Eb Gb Ab Bb

The Keys (This pattern is repeated throughout the entire piano

keyboard.)

b. Intervals

In a major key:

Major 2nd Major 3rd Perfect 4th Perfect 5th Major 6th Major 7th Perfect 8ve

Semitone

smaller

Semitone smaller NORMAL in a

major scale

Semitone Bigger

Diminished

2nd

Minor 2nd Major 2nd Augmented 2nd

Diminished

3rd

Minor 3rd Major 3rd Augmented 3rd

Diminished 4th Perfect 4th Augmented 4th

Diminished 5th Perfect 5th Augmented 5th

Diminished 6th Minor 6th Major 6th Augmented 6th

Diminished 7th Minor 7th Major 7th Augmented 7th

Diminished 8ve Perfect 8ve Augmented 8ve

Compound intervals are those where you go beyond an octave. For example; a 9th becomes compound major 2nd.

C-D major 2nd, or major 9th when over an octave = compound major 2nd

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Major keys and key signatures

ORDER OF SHARPS: Father Charles Goes Down And Ends Battle

SHARPS: Go to the last sharp and go up a step in the alphabet to find the key eg:

The last sharp is a D. Go up a letter in the alphabet= E major. ORDER OF FLATS: (order of sharps backwards)

Battle Ends And Down Goes Charles Father

FLATS: Go to the flat before last. That is the key

The flat before last is Eb, so the key is Eb major

We have to remember these:

C major F major

Basic signs and symbols Start repeat, go back to repeat mark. Ist time bar, 2nd time bar, DS-go back to the sign.

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MINOR KEYS. Every major has a relative minor which shares the same key signature. To find the relative minor go DOWN a minor 3rd (3 semitones):

Key signature Major key Minor key

B♭, E♭, A♭, D♭, G♭, C♭, F♭ Cbmajor A♭ minor

B♭, E♭, A♭, D♭, G♭, C♭ G♭ major E♭ minor

B♭, E♭, A♭, D♭, G♭ D♭ major B♭ minor

B♭, E♭, A♭, D♭ A♭ major F minor

B♭, E♭, A♭ E♭ major C minor

B♭, E♭ B♭ major G minor

B♭ F major D minor

C major A minor

F♯ G major E minor

F♯, C♯ D major B minor

F♯, C♯, G♯ A major F♯ minor

F♯, C♯, G♯, D♯ E major C♯ minor

F♯, C♯, G♯, D♯, A♯ B major G♯ minor

F♯, C♯, G♯, D♯, A♯, E♯ F♯ major D♯ minor

F♯, C♯, G♯, D♯, A♯, E♯, B♯ C♯ major A♯ minor

Metre

Simple time – 4/4, 3/4, 2/4

Compound – 3/8, 6/8, 9/8, 12/8

Regular - above

Irregular – 7/8, 5/4 etc.

BPM – beats per minute

Metrone markings – You should know the typical MM/ BPM for each tempo marking. Dynamics – volume

Crescendo growing Becoming louder

Decrescendo shrinking Becoming softer

Diminuendo dwindling Becoming softer

Forte strong Loud

Fortissimo very strong Very loud

Mezzo Forte half-strong Moderately loud

Piano gentle Soft

Pianissimo very gentle Very soft

Mezzo piano half-gentle Moderately soft

Sforzando strained Sharply accented

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Tempo

Tempo time The speed of a piece of music

Largo broad Slow and dignified

Larghetto a little bit broad Not as slow as largo

Lento slow Slow

Adagio ad agio, at ease Slow, but not as slow as largo

Adagietto little adagio Faster than adagio; or a short adagio composition

Andante walking Moderately slow, flowing along

Moderato moderately At a moderate speed

Allegretto a little bit joyful Slightly slower than allegro

Largamente broadly Slow and dignified

Allegro joyful;lively and fast Moderately fast

Fermata stopped Marks a note to be held or sustained

Presto ready Very fast

Prestissimo very ready Very very fast, as fast as possible

Accelerando accelerating accelerating

Affrettando becoming hurried accelerating

Allargando to slow and broaden slowing down and broadening, becoming more stately and majestic, possibly louder

Ritardando to slow decelerating

Rallentando becoming progressively slower

decelerating

Rubato robbed free flowing and exempt from steady rhythm

Tenuto sustained holding or sustaining a single note

Accompagnato accompanied The accompaniment must follow the singer who can speed up or slow down at will

alla marcia as a march In strict tempo at a marching pace (e.g. 120 bpm)

a tempo to time Return to previous tempo

Pause To pause the pulse of the music

Hold the note under the pause marking for expression.

Musical expression (general)

Molto very Used with other terms, such as molto allegro

Assai very Used with other terms, such as allegro assai

Più more Used with other terms, such as più mosso

Poco little "a little". Used with other terms, such as poco diminuendo

Poco a poco little by little "little by little", "slowly but steadily". Used with other terms, such as poco a poco crescendo

ma non troppo

but not too much

But not too much, such as allegro ma non troppo

Meno less Used with other terms, such as meno mosso

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Moods

Agitato agitated Excited and fast

Animato animated Animated

Cantabile singable In a singing style

Con fuoco with fire with fiery manner

Con brio (Con Spirito) with spirit With spirit

Con moto with movement With movement

Dolce sweetly Sweet

Grazioso graciously or gracefully With charm

Maestoso majestic Stately

Misterioso mysterious Mysteriously, secretively, enigmatic

Scherzando playfully Playfully

Sotto subdued Subdued

Semplicemente simply Simply

Vivace vivacious up-tempo

Directions

Attacca Proceed to the next section without pause

Da Capo (al fine)

from the beginning (to the end)

Abbreviated as D.C., informs the performer to go back to the beginning (capo) (finishing where the part is marked "fine")

Dal Segno to the sign Abbreviated as D.S., informs the performer to repeat a specific section marked by a sign (segno)

Divisi divided Instructs one section to divide into two or more separate sections, each playing a separate part. Often these separate parts are written on the same staff.

Techniques

Arpeggio harp-like A chord with the notes spread out in time

Appoggiatura leaning A type of ornament

Basso continuo

continuous bass

Continuous bass accompaniment (see figured bass.)

Coll'arco with the bow Cancels "col legno" and "pizzicato" (in a string passage, arco is usually expected and is not written.)

Colla voce with the voice A note to accompanists to play with (in time with) the singer, especially when slowing for textual effect

Con sordino with mute Calls for mute to be applied, esp. to string instruments.

Senza sordino without mute Calls for mute to be removed, esp. from string instruments.

Pizzicato plucked Calls for a bowed instrument to be plucked

Staccato detached The player cuts of the note to leave a detached effect.

Marcato marked To add extra emphasis to the note in question

Legato Smoothly To play the phrase smoothly without breaks.

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Degrees of the Scale:

1 Tonic

2 Supertonic

3 Mediant

4 Subdominant

5 Dominant

6 Submediant

7 Leading note

8 Tonic

You should learn the above theory, or revisit it from GCSE, over the summer before your A level begins. You will be expected to revise this throughout the year, along with the further theory knowledge below.

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A LEVEL MUSIC THEORY 1. TEXTURE

TEXTURE is the word that describes the relationship between the music going on in different parts at the same time.

Are they playing the same? Is one playing chords whilst the other plays a tune? Is there a call and response between

two instruments? Most composers use a wide variety of textures, changing sometimes every few bars.

THE ‘ONICS’ These words describe overall common textures and you must learn them.

MONOPHONIC. (MONO means ONE). It means an unaccompanied solo or everyone playing the same in unison or doubled in octaves. There are no chords. Here the only music is the flutes, oboes and bassoons all playing the same notes in octaves: It still counts as Monophonic if a rhythm is playing along (rather than pitches)

HOMOPHONIC means a tune with an accompaniment based on chords. Here the top two instruments have a melody in octaves and the bottom part is playing a chord pattern: Sometimes Homophonic texture looks more like a hymn: you could call this ‘Chordal’. An interesting composing technique is to write your melody in parallel 3rds. Sometimes a homophonic texture of melody and chords can have a different, independent melody coming in over the top. This would be called a COUNTERMELODY. Countermelodies which are consistently higher than the original melody can also be called DESCANT. For example; Christmas carols often make use of a descant in the final verse.

POLYPHONIC or CONTRAPUNTAL (several melodic parts heard at the same time)

a. parts copy each other exactly on the same notes eg London’s burning is a CANON

b. Parts copy each other with the same tune but starting on different notes: IMITATIVE COUNTERPOINT e.g.

c. FREE COUNTERPOINT: Independent parts going on at the same time, but not playing the same tune. Also known as FUGAL.

Try to remember to say how many different parts are going on at the same time, e.g. three part Counterpoint.

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ANTIPHONY/ ANTIPHONAL WRITING A group of instruments play the first two bars then another group take over. It’s a bit like ‘call and response’

PEDAL NOTES The composer is repeating the TONIC (Key note) in the bass, even though the chords are changing. This is called a TONIC PEDAL. Sometimes a composer uses the 5th note of a scale, the dominant, in which case it would be called a DOMINANT PEDAL. If the PEDAL NOTE appears at a high pitch it is called an INVERTED PEDAL.

BROKEN CHORDS: This is melody dominated homophony where the chord notes have been broken up.

Other textures: A CAPELLA – Unaccompanied voices. E.g. ‘Homeless’, Ladysmith Black Mombaza.

TRIO SONATA TEXTURE – two melodic instruments and basso continuo

HETEROPHONIC – Simultaneous variation of the same melodic line.

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Look at these extracts and complete the descriptions of the texture.

Violin _____ has the melody throughout. In bars ______ to ______ the lower three parts are playing harmonies. In bars 3 and 4 the ______________ has a countermelody. In bar 3 the two violins play in union for the first ___________ notes, then in ___________________ (interval) for the next three notes. GIGA Allegro

The ___________________ plays a solo until bar 3, when the ________________ comes in, playing in ______________________.

Vln I

Vln II

Vla

Cello

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The following piece uses a variety of textures. Can you identify the texture of each numbered phrase?> Try teaming up with other students to play different phrases in turn and agree on what each texture is. You should find that the phrases can be played in different orders which will keep everyone on their toes.

Phrases 5 and 6 have the same texture, but can you say how these two phrases are related?

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2. INSTRUMENTS AND THE SCORE

On Spotify: Young Person’s Guide- listen to an instrument one at a time. Strings:

The strings form the ‘backbone’ of the orchestra – more than half the members of an orchestra play string instruments. The string section of a large orchestra may include:

Notice that the violins are divided into two groups: first violins and second violins. The difference is not the instruments themselves (which are exactly the same of course) but in the music which they play – the first violins usually playing higher notes than the seconds. Violins, violas, cellos and double basses all produce their sounds in exactly the same way. Four strings – of gut, metal or nylon – are stretched across a hollow wooden body. They are fixed to the tailpiece at one end, then taken across the bridge to the tuning-pegs. Sometimes the player uses his fingertips to pluck the strings (called pizzicato) – but the more usual way of causing them to vibrate is by drawing a bow across them. This is a wooden stick with more than 200 strands of horsehair stretched tightly along it.

The harp: Although the harp is counted as a string instrument, its

construction and the way in which it is played set it apart from the other members of the string section. The harp is always plucked. It has 47 strings. Two typical harp ‘effects’ are arpeggios – spreading out the notes of a chord; and the glissando – sweeping the fingers across the strings.

Vocab:

Pizzicato plucking the strings with the fingertips; when the player is to use the bow again the composer writes the word arco (bow);

con sordino (with the mute) a comb-like device is clipped onto the bridge, damping the vibrations to give a hushed, silvery tone;

tremolo (trembling) an agitated, rather dramatic, quivering effect, usually consisting of quick repetitions of a note by making very rapid up-and-down movements of the bow;

col legno (with the wood) the player turns his bow over and uses the wooden part on the strings instead of the horsehair.

Sul ponticello with the bow kept near the bridge so as to bring out the higher harmonics and thereby produce a nasal tone

Sul tasto "on the touch" - a direction to string players to bow over the fingerboard producing a warmer, mellower sound.

Double stopping the sounding of two strings at once

16 first violins 10 cellos 14 second violins 8 double basses 12 violas 2 harps

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Woodwind: Although instruments of the woodwind section were originally made of wood, nowadays other materials may be used instead.

The woodwind section of the modern orchestra often includes:

2 Flutes and piccolo 2 clarinets and bass clarinet 2 oboes and cor anglais 2 bassoons and double bassoon

Expect for the flute and piccolo, each of these instruments has either a single or double reed. The flute and piccolo – which are held horizontally rather than straight in front of the player – produce their sounds by what is called ‘edge-tone’. The player directs a stream of air across an oval-shaped hole. The farther edge of this mouth-hole splits the stream of air and causes the air column inside the instrument to vibrate and so produce a note. The clarinet has a single reed – a flat piece of cane shaved to delicate thinness at the end – which fits over an oblong hole in the mouthpiece. The player’s breath causes the reed to vibrate, which in turn sets the air column vibrating inside the tube. The oboe, cor anglais (meaning ‘English horn’, but really a larger kind of oboe), bassoon and double bassoon each have a double reed – two strips of thin cane bound together, with the ends finely tapered. As the player blows, the two reeds vibrate against each other (in a similar way to the edges of a folded leaf, held between the thumbs and blown). The vibrations of a double reed set the air column vibrating inside the instrument.

Flute Piccolo Clarinet Bass Clarinet

Oboe Cor Anglais

Bassoon Double Bassoon

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Brass: Each instrument in the brass section is a length of hollow tubing with a mouthpiece at one end and a flaring ‘bell’ at the other. Although ‘brass’ is a convenient name for these instruments, they are more likely to be made of mixed metals nowadays than pure brass. The brass section of the modern orchestra often includes:

4 horns 3 trumpets (and occasionally, cornets)

3 trombones (2 tenor, 1 bass or ‘tenor- bass’) 1 tuba

The pitch-range of each instrument depends upon its length of tube. For instance, the tube of the horn is longer than that of the trumpet, enabling it to sound lower notes.

Percussion: The percussion section includes those instruments which are struck or shaken, crashed or banged. These instruments can be divided into two groups. The first group contains pitched, or tuned, percussion – those instruments which can play one or more notes of definite pitch, and so could possibly play a tune. Included among these are:

Kettle drums glockenspiel (metal bars) tubular bells (or timpani) xylophone (hard wood bars) celesta

The second group is larger and includes all unpitched, or non-tuned, percussion instruments – those which make sounds of indefinite pitch, and so can only play rhythms, not tunes. However colourful and exciting these instruments may sound, they must really be classed as ‘noise-makers’. Included among these are:

Bass drum triangle woodblock Snare drum (or side drum) tambourine whip (slapstick) Cymbals castanets tamtam (or gong)

Piano: una corda (soft pedal) this pedal shifts the whole action including the keyboard slightly to the right, so that hammers which normally strike all three of the strings for a note strike only two of them. Pedalling – to sustain the notes played.

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Mini assignment:

1. Identify the instruments which are illustrated in the box below. Give the name of the section of the orchestra to which each instrument belongs:

A B C D E F G I J 2.See how many percussion instruments you can identify in these pieces. Afterwards, make 3 lists, entering each instrument according to the vibrating material which produces its sounds: skin, metal, wood. a) Fandango Asturiano’ from Spanish Caprice by Rimsky-Korsakov b) Polka, from The Age of Gold by Shostakovich c) Overture: Tam O’Shanter by Malcolm Arnold

3.As you listen to the beginning of each of these pieces, identify the instrument which is featured solo: a) Vaughan Williams: The Lark Ascending b) Mendolssohn: ‘Nocturne’ from A Midsummer Night’s Dream c) Holst: The Hymn of Jesus d) Bach: ‘Badinerie’ from Orchestral Suite No.2 in B minor e) Sibelius: Symphony No.1 in E minor f) Musorgsky: ‘Bydlo’ from Pictures at an Exhibition

a) b) c)

a) b) c) d) e) f)

A

B

C

D

E F G

I

H

J

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How the Orchestra Grew The grouping together of various kinds to form an orchestra first came about in the early 1600s. The first orchestras were haphazard collections of bowed and plucked strings and various types of wind instrument together with a keyboard instrument such as a harpsichord. Often a composer would include whatever musicians were available to him at the time, and so the number of players and types of instrument would vary considerably from one composition to another.

Later in the 17th century, the development of the violin family led to the string section becoming established as a balanced and self-contained unit. This became a central ‘nucleus’ to which composers attached other instruments in ones and twos as occasion offered: flutes (or recorders), oboes, bassoon, perhaps horns, and occasionally trumpets and kettle drums. A constant feature at this time was the harpsichord continuo – the player ‘continuing’ throughout the music to fill out the harmonies and, in fact, to hold the ensemble together. Towards the end of the

18th century, the four main types of woodwind instrument (flute, oboe, the recently invented clarinet, and bassoon) were combined in pairs to form a self-contained woodwind section. The harpsichord continuo fell out of use, and instead a pair of horns helped considerably to bind together the texture of the music. Often, a pair of trumpets and a pair of kettle drums were included. For some time, this formation of the orchestra was accepted as standard. It is often called the ‘Classical orchestra’; it is precisely this combination of instruments which is required to play Haydn’s last symphonies, and the early symphonies of Beethoven and Schubert.

During the 19th century, both size and range of the orchestra increased enormously. Trombones, which had earlier been used only in operas and church music, now found a regular place. The number of horns was increased to four, and the brass section was finally completed by the addition of the tuba. This section now took on far greater importance as its range and flexibility was increased by the invention of the valve system. Extra woodwind – piccolo, cor anglais, bass clarinet, and double bassoon – were available, and the choice of percussion instruments became more varied and excitingly colourful. It became necessary to increase the number of string players in order to keep a balance of sound between the four sections.

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The Orchestral Score The music on this page shows the opening of the final movement of Tchaikovsky’s Fourth Symphony. This is the first four bars of the music taken from the conductor’s orchestral score. The instruments are arranged down the page of an orchestral score according to the four sections of the orchestra. The order is always: woodwind, brass, percussion, and strings.

Strings

Percussion

Brass

Woodwind

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This score sows the beginning of the second movement of Dvorak’s Symphony No.9 in E minor (‘From the New World’). Listen to these opening bars, then answer the questions below.

a) Note down the sections of the orchestra represented here. Then below each one, list the English names of the instruments included.

b) Explain: Largo. M.M. = 52 c) Which instruments have a 2 above their notes? What does this mean?

d) Explain: dim. ppp con sordino e) The violas are marked div. (short for divisi). What does this mean? Name the first two notes these

instruments play. f) What do you think the slanting bars across the stem of the kettle drum’s first note indicate to the player? g) Clarinets ‘in A’ are used. Name the first note which they play:

i. As it is written ii. As it usually sounds. h) Which other transposing instruments take part in this music? i) Which solo instrument eventually introduces the melody? Write the notes it plays at the pitch they actually

sound. (Include a clef, key signature, time signature, and dynamic marking.)

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Voices Typical voice types and terms:

Soprano High female

Alto Low female

Tenor High male

Bass Low male

SATB Most common choir formation – soprano/ alto/ tenor/ bass

Baritone Rich and dark male voice between high and low register

Mezzo-soprano Rich and dark female voice between high and low register

Coloratura Agile, light, often high female voice

Treble A boy’s voice before it has broken

Falsetto Male voice singing high beyond the passagio

Belt To force the sound from your chest.

Rap To use rhythm and words, rather than melody.

Sotto voce Using a quiet voice

Vibrato Where the voice wobbles, often heard in opera or musicals.

portamento To slide from one note to another. E.g. Summertime

Contemporary instruments A few contemporary instruments and techniques/ effects:

Electric guitar

Bass guitar

Drum kit

Synthesiser

Slap bass

On the double bass, slap bass refers to a percussive style of playing used in rockabilly and psychobilly in which the strings are pulled away from the fingerboard until they snap back onto the fingerboard.

Tremolo a lever on an electric guitar, used to produce a tremolo effect.

Rim shot A percussion technique used to produce an accented snare drum backbeat on the side of the snare drum.

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3. RHYTHM

METRE- means the time signature TRIPLETS- 3 notes played in the time of 2 of them!

ANACRUSIS – an ‘up beat’ eg

DOTTED RHYTHMS-

STRONG BEATS AND WEAK BEATS:

If the natural accents in a rhythm do NOT coincide with the natural strong beats, it produces a ‘jazzy’ effect called SYNCOPATION

SWUNG QUAVERS-found in jazz and some pop music Pairs of normal quavers are played almost like dotted notes- long short, long short

HEMIOLA two groups of three beats are replaced by three groups of two beats, giving the effect of a shift between triple and duple metre

CROSS RHYTHM A variety of different rhythms playing at once. Also known as polyrhythm.

MOTOR-RHYTHM driving rhythmic force behind a section or piece of music, especially in the Baroque era. Ie semiquaver accompaniment

DIMINUTION AND AUGMENTATION. A composer takes a fragment and repeats it with shorter note values or longer note values

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4. HARMONY TRIADS: Three note chords

This chord is in root position

This is the same chord in 1st inversion

This is the same chord in 2nd inversion Triads can be created built on any note of a scale. They are numbered using Roman Numerals:

PRIMARY TRIADS. The most important triads are I IV and V. These are known as the primary Triads. It is possible to harmonise and tune just using these three chords. Inversions with Roman Numerals:

Major, Minor, Augmented and Diminished Chords.

Major Triad has a major third with a minor third over the top

Minor triad had a minor third with a major third over the top

Diminished has two minor thirds on top of each other

Augmented has two major thirds on top of each other. Sometimes they are shown as:

C major- C C minor- Cm C diminished- Cdim or

C augmented- C aug or C/E – C major with an E in the bass C7 – C 7 chord.

Other chords of interest:

SUBSTITUTION CHORDS (from the opposite mode) the substituting chord needs to be a dominant chord whose root is a diminished fifth above (or below) the root of your original chord. This means if you see a G7 chord you can substitute it with a chord whose root is a diminished fifth higher than the G. In this case, that note would be a Db (D-flat).

SECONDARY DOMINANT 7th This is the dominant 7th of the dominant of the key you are in. For example; In C major the dominant is G major. The dominant of G is D major. So the secondary dominant of C major is D7.

NEAPOLITAN a major chord built on the lowered second (supertonic) scale degree.

In C major

DIMINISHED 7th CHORD

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NEAPOLITAN 6th The Neapolitan most commonly occurs in first inversion so

that it is notated either as ♭II6 or N6. In C a Neapolitan sixth chord in first inversion contains an interval of a minor

sixth between F and D♭.

AUGMENTED 6TH CHORDS

CADENCES Pairs of chords played one after the other, usually at the ends of phrases, which create the ‘punctuation’ of music.

THE FULL STOPS: Perfect V-I (The most common cadence) Plagal (Amen) IV-!

THE COMMAS: IMPERFECT ?-V (The second most common cadence – also known as a half-close cadence) INTERRUPTED V-vi

One extra cadence - PHYRGIAN CADENCE: An imperfect cadence iv6–V in minor. From Baroque era, sounds archaic.

ADDED NOTE CHORDS: Adds extra notes so you have more than three in a chord.

There are also added 2nd, 4th (sus4)

and 6th chords too HARMONIC RHYTHM: Means the rate at which chords change. In a hymn this is often 1 per beat. In most pop songs it is more likely to be 1 per bar FUNCTIONAL HARMONY: This is the way that most composers of the Baroque and Classical period used chords and harmony. Functional harmony uses chords to clarify the key and to confirm any modulations by:

Using lots of primary triads, mainly in root position

Regular cadences at the end of phrases

Mainly diatonic chords (only contain notes of the key you’re in-see later) DIATONIC v. CHROMATIC HARMONY Diatonic chords contain only notes belonging to the key you are in (consonant). Chromatic chords contain notes that do not belong to the key (dissonant). Here is an easy one to use yourselves: ii7b Chromatic eg

You can use ii7b before V at an imperfect cadence, or before V the I at a perfect cadence. HARMONIC DEVICES These are chordal ‘tricks of the trade’.

EXAMPLE 1: THE CADENTIAL

To understand this you need to know that 6 over 4 is a way of showing a SECOND INVERSION chord. It means a particular chord pattern that goes Ic – V at an imperfect cadence, or Ic-V-I at a perfect cadence

6 4

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CIRCLE OF 5ths. This is a chord progression which moves around the circle

Sometimes the composer uses it to briefly pass through several keys: Play it to see how it works and try to fill in the next bar to continue the chord sequence

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SUSPENSIONS Produce a very pleasant momentary dissonance. You need to know about 4 types:

4-3 suspension

7-6 suspension

9-8 suspension

2-3 bass suspension

TIERCE DE PICARDIE This when a piece in a minor key ends on a chord I made into a MAJOR chord BROKEN CHORDS and ARPEGGIOS. Sometimes chord notes are broken up and played in various patterns.

This particular broken chord pattern is called an ALBERTI BASS and was very popular during Mozart’s lifetime:

Arpeggios:

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5: TONALITY

Tonality means KEY During the course of a piece of music, composers often modulate-they change key. When thinking about the tonality of a piece we consider the key that the music starts in and which keys it changes to. If music modulates it generally goes to a closely related key. How are keys closely related? - they have very similar key signatures. For instance, C major has no sharps of flats so it is closely related to G major, which has one sharp. It is only very distantly related to F# major which contains six sharps. Degrees of the scale reminder:

Piece starts in a major

key Subdominant Dominant

Relative minor

Relative minor Relative minor

Here’s how it works if the piece started in G major:

Piece starts in a major

key G major Subdominant C major

Dominant D major

Relative minor E minor

Relative minor A minor

Relative minor B minor

Work out the closely related keys for F major below

If the piece starts in a minor key, the closely related keys are:

Piece starts in a minor

key Subdominant Dominant

Relative major

Relative major Relative major

Work out the closely related keys for G minor below

How can you tell by looking at the music that it has modulated? The two big signs

1. Accidentals appear which belong to the new key. 2. A perfect cadence in the new key

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Activity 1: Identify the starting key (the tonic) and the key it has modulated to.

a. b. c. d.

Research task:

What does the tonic minor mean?

What does tertiary keys mean?

What does enharmonic keys mean? How would you modulate from C to the tonic minor? Find examples of all three.

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Activity 2: a. Identify the three keys in the following passage by Handel:

Notice the chord marked * in the final cadence of this passage. It is chord viib and is used as a substitute for V(7) in this perfect cadence. b. In the above passage, write Ic below the example of a cadential c. Study the modulation in the following passage, which includes a pivot chord indicated by a shade box, and the complete the sentences below.

This passage begins in the key of and ends in the key of . The pivot chord is chord in the starting key, and chord in the final key of the passage. INFO There are some other scales/ modes which you need to know about beyond major and minor: For home work research the different modes and compile a list – here’s a clue to get you going…

6 4

*

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6. MELODY

If the disjunct notes come from a chord they could be called TRIADIC (coming from a triad, a 3 note chord) An ascending sequence: Can you complete the missing 4th bar?

A repeat:

Phrases- sections of melody, often 2-4 bars long with a ‘breath’ at the end. They are often made into pairs, called question and answer phrases. The question ends with an imperfect cadence, the answer ends with a perfect cadence. Proper names ANTECEDENT and CONSEQUENT. Play them:

Contour of the melody = shape of the melody

(scalic)

(angular)

(ostinato when the repeat is numerous times

throughout the song)

This is an equal, balanced phrase. Unequal phrase lengths might consist of phrases of different

lengths within a piece.

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Each individual note has a function depending on how it relates to the chord going on at the same time. Each function has a specific name:

Identify the melodic function of each of the numbered notes in this melody:

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

Echappée note

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Activity 1 Write ‘PN’ over each (unaccented) passing note in the melody of the following dance, and ‘APN’ above each accented passing note.

Activity 2 Label each auxiliary note ‘Aux’ and each passing note ‘PN’ in the piece below.

Activity 3 Write x above each diatonic appoggiatura in the following passage and * above each chromatic appoggiatura. The key is C minor and the first chromatic appoggiatura has been marked for you.

D major: I iib V V7d Ib I

I V vi Ib viib A major:

*

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ORNAMENTS:

Trill

Turn

Appoggiatura

Acciaccatura

Mordent

Here is a short tune littered with trills, turns and mordents. Ask someone to play it to you with some of the ornaments omitted. Circle those that are actually played.

Device Description Written

Decoration When ornaments are added to a melody

Sequence A phrase of music which is immediately

repeated higher, or lower Imitation A phrase of music which is then copied

by another part

Inversion A phrase which is then turned upside down

Augmentation The rhythm of the melody notes is

drawn out

Diminution The rhythm of the melody notes is shortened.

Ostinato A melodic fragment which is repeated

over and over again

Syncopation The notes are played off the beat

A composer needs to use some devices to create interest and to develop a musical idea. For example, here’s the opening of Beethoven’s Third Piano Concerto and some ways in which it can be varied:

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7. FORM AND STRUCTURE

Form and structure means the same thing. Both describe the way that new material and repeated ideas are set out in a composition. All successful pieces have a satisfying balance between REPETITION and CONTRAST. Too much contrast and a composition will become confusing and hard to make sense of. Too much repetition, on the other hand, soon gets boring!! Traditionally in music we label ideas using letter names, with A meaning the first section. So a piece in three sections with the outside two being exactly the same but a different bit in the middle would be ABA If the second section is almost the same as the first apart from a small change, we would label that A then A1 STROPHIC FORM. Verse 1 Verse 2 verse 3 etc. Creates AAAA A very simple song structure. Great for community singing (eg hymns) when everyone needs to be able to join in quickly, but gets boring rather quickly eg While Shepherds Watched their Flocks by Night Sometimes enlivened to verses and chorus so Verse Chorus Verse Chorus etc =ABABAB etc. Still quick to learn for community singing but less boring than just AAAA. Eg O Come all ye Faithful-the chorus ‘O come let us adore him’ repeats after each verse. Many contemporary pop songs are essentially more or less decorated versions of this, which may include an intro, an outro, a bridge, middle 8, instrumental or pre-chorus. Try listening to a pop song and labelling the sections. The opposite to this is THROUGH COMPOSED. Entirely non-repetitive and linear. Another song structure is common in songs from musicals: 32 bar song form. This is arranged as follows: A 8 bars long A 8 bars long B new material 8 bars A 8 bars long =32 bars in total. BINARY FORM simple structure used in classical music II:A:II:B:II TERNARY FORM ABA ROUNDED BINARY (a cross between Binary and Ternary) II:a:II:BA:II RONDO FORM ABACADA etc RITORNELLO and EPISODIC/ EPISODE are similar to rondo form, in that the same passage keeps returning. RECITATIVE/ ARIA are forms most often used in opera. Recitative is usually a connecting passage, or introduction to an aria which keeps the pace of the story going and fills us in on what is happening in the plot. The voice is often only accompanied by minimal orchestra and the tempo is often rubato. Arias are the ‘big numbers’ where the main characters explore their feelings and the time of the plot tends to be suspending for these moments. The full orchestra is normally used here and the structure will be much more formal – for example da capo aria form.

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MORE COMPLEX STRUCTURE: SONATA FORM Binary and ternary forms were used extensively in the Baroque when individual movements were quite short. From 1750 onwards compositions became longer and a new more complex structure was needed. Sonata Form was based on Ternary Form in having three distinct sections

A B A

EXPOSITION The section in which the composer’s main ideas are first presented to the listener. Ie the ideas are exposed/shown

DEVELOPMENT In ABA form this section would contain new, contrasting ideas BUT in sonata form the composer takes ideas/themes from section A and in this middle section, ‘plays about with’ them –develops them

RECAPITULATION If you ‘recap’ something, you go back over it.Here the composer repeats the Exposition but with two big differences. (See below)

There are two main ideas here: 1st subject in the tonic key 2nd subject in a new key, usually the dominant. They have a section in between called a Transition to get you from the tonic key to the dominant. Then there is a little ending called a CODETTA to finish off

Themes/ideas from the exposition are played about with/disguised and treated in a variety of different ways, often the music moves through a number of other keys, taking us on a journey away from the tonic key.

Ist subject in the tonic Transition 2nd subject now in the tonic (we’re nearly at the end of the piece so we need to be back in the home key here!!!) Bigger ending than the Exposition, called a CODA

The exposition is then repeated

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6.

Marking criteria,

Specimen questions and

Sample Answers for:

Component 1 (Set Works) (p.58-71)

Guide on how to analyse and express how musical ideas

affect the listener’s emotions – the effect created by the

Music (p.72-73)

Suggested listening list for each area of study (p.74-76) (it would be useful to listen to all of these and analyse them as unfamiliar pieces,

even in the Areas of study we aren’t studying)

Command Words (p. 79-86)

Subject Specific Vocabulary (p.79-86)

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Component 1 - (Set works – Section B/C) Marking Criteria

Section B (34 marks – 40 mins) You must answer two questions of the 3, each connected to a strand from Area of Study 1 (Western Classical music). You will be given an extract to listen to and a score for each question. Each question has a number of 1 mark sub- questions and a number of long answer sub-questions – these must be answered in prose.

Section C (30 marks – 45 mins) You must choose one question from the available questions on Area of study 2 – 7. You will only have one question within each area of study, and you should only answer from an area of study you have been doing in your lessons. This is one essay question and must be answered in prose.

Each long answer question in both sections is marked according to a general fit criteria seen below, and AQA also provide detailed suggested responses individual to each question. In all Areas of Study the examiners will look for an awareness of the music – essay writing which convinces them that candidates have heard and understood something of the flavour of the works they have studied. Examiners will credit musical detail (such as reference to melody, harmony, use of voice/ instruments) and evaluate the answer against the criteria as a best fit.

Marks Questions out of 5 (Section B) Marks Questions out of 10 (Section B)

5

An authoritative response which is consistently coherent and logically structured

9-10

A comprehensive and authoritative response which is consistently coherent and logically structured

7-8 A wide-ranging and confident response which is mostly coherent and well structured 3-4

A wide-ranging response which is mostly coherent and well structured 5-6

A relevant response despite some inaccuracy/ omission and weaknesses in terms of coherency and structure

1-2 A limited response with some significant inaccuracy/ omission and a lack of clarity 3-4

A limited response with some significant inaccuracy/ omission and a lack of clarity

1-2 A rudimentary response

0 No work submitted or worthy of credit.

0 No work submitted or worthy of credit.

Marks Marks out of 30 (Section C)

25-30 The essay shows a commanding grasp of relevant issues and an assured and comprehensive musical understanding

There is a convincing sense of conveying the aural experience of the music under consideration

The writing utilises a wide range of appropriate musical examples

Technical vocabulary is comprehensive, accurately used, and incorporated into a mature writing style.

19-24 The essay has a confident involvement with relevant issues and a clear and largely complete musical understanding

There is a good sense of conveying the aural experience of the music under consideration

The writing utilises a varied selection of appropriate musical examples

Technical vocabulary is frequently and well used, within a consistent writing style.

13-18 The essay shows some involvement with relevant issues and a partial musical understanding

Some awareness of the aural experience for the music under consideration is conveyed

There are some appropriate musical examples, though the selection is somewhat restricted

Technical vocabulary is used quite frequently, though not always successfully, within a somewhat uneven writing style.

7-12 The essay shows some acknowledgment of relevant issues, though musical understanding tends to be superficial

There is occasional awareness of the aural experience for some of the music under consideration

Appropriate musical examples are sparse

Technical vocabulary is used at times, though sometimes inaccurately, within a limited writing style.

1-6 There is no clear awareness of relevant issues, and mu�sical understanding is rudimentary

There is no convincing sense that the aural experience of the music under consideration is familiar

No effective musical examples are given

Technical vocabulary is not used appropriately, within an overall rudimentary writing style.

0 No work submitted or worthy of credit.

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Specimen essay questions

Here are some questions which may well end up on your exam paper. The best way to revise is to plan each of them

so you are prepared to answer anything!

Be thorough – plan with the details within each paragraph (PEAL) and the argument, intro and conclusion.

Western Classical Tradition

1. In the first movement, how does the introduction provide an effective start to the symphony?

2. Identify the main melodic motifs in the first movement and show how widely they are used.

3. What is the role of the development section in sonata form? Using either movement show how the

composer handles this aspect of structure.

4. Describe the ways in which the composer makes use of form and tonality in this symphony.

5. Describe the ways in which the composer uses melody and texture in this symphony.

6. Write an informative account of the exposition in the first movement of this symphony. You should refer to

structure, melody, texture, instrumentation, rhythm, harmony and tonality.

7. Describe how the composer develops his ideas in the symphony. You should refer to melody, texture,

instrumentation, rhythm, harmony and tonality.

8. Describe the ways in which the composer uses the orchestra in this symphony.

9. Describe the ways in which the composer uses rhythm and tonality in this symphony.

10. What elements bring cohesion and unity to the symphony?

11. How does the composer build a sense of dramatic tension in the symphony?

12. How does the composer build his first-subject material in the first movement from a motif?

13. What is the standard format of a late 18th century symphony? Does the composer adhere to it?

14. Describe and analysis ways in which the musical language of this symphony is clearly of the 20th century.

15. Give examples of the composer’s innovative and distinctive orchestra in this symphony.

16. Evaluate the importance of the tonal centres through this symphony.

17. Give examples of rhythmic diminution and augmentation in this symphony.

18. Discuss passages that show the emotional range in this symphony.

19. Discuss reasons for this symphony’s popularity, or lack thereof.

20. How does the composer achieve formal coherence across the whole of his Symphony?

21. Discuss the composer’s use of motivic and thematic development in his Symphony.

22. Discuss the composer’s use of the orchestra and explain how he uses it to introduce colour as well as to help

define musical design. Give specific score references to support your answer.

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23. How modern is the composer’s harmonic language as represented in his Symphony?

24. Discuss the composer’s melodic style as represented in his Symphony. Give precise references from the

score to support your answer.

25. Analyse the first movement of the Symphony.

26. Discuss the importance of (a) tonality, and (b) texture in the composer’s musical language, using examples

from the Fifth symphony to illustrate your answer.

27. Identify passages from this symphony which you consider to be characteristic of the composer’s writing.

28. What influences from past symphonies are to be heard in this symphony?

29. Analyse how Bach uses musical elements to create contrast in this excerpt and explain how the excerpt

relates to the 2nd movement as a whole.

30. Analyse Bach’s approach to rhythm in the solo violin part of the excerpt, discussing ways in which this is

typical of the Baroque concerto.

31. Analyse Mozart’s handling of phrase structure and melodic shape in the voice part in bars 1-20, discussing

ways in which this is typical of classical period melody.

32. Explain how the music in this aria helps to convey the dramatic situation.

33. Analyse Chopin’s approach to rhythm in bars 1-8 of the excerpt, discussing ways in which this is typical of his

style.

34. Explain Chopin’s approach to melody, harmony and rhythm in this excerpt, explaining how the excerpt

relates to the Nocturne as a whole.

35. Any question asking you to talk about/ compare/ describe the development of:

a. Form

b. Harmony and tonality

c. Instrumentation and texture

d. Melody

e. Rhythm and metre

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Specimen essay questions - Musicals

1. Compare and contrast two character songs.

2. Compare and contrast an early musical and a late musical. How have the composers created different moods

and used different techniques to develop musicals through time?

3. What are the functions of character songs, compared to chorus numbers in musicals? Give an example from

specific pieces you know.

4. Compare and contrast the function of the overture in musicals, using examples of specific pieces in detail.

5. Write an essay describing how composers have used music to help portray different characters. Refer to

suitable passages from the Musicals that you have studied.

6. Choose two contrasting dance passages from the Musicals that you have studied and show how rhythm and

metre, instruments and texture have been used to convey the mood and distinctive dance features.

7. Choose two contrasting passages from different musicals and describe the ways in which the music has been

used to enhance the drama.

8. Choose two contrasting ensembles and write in detail about each. Refer to melody, harmony, use of

instruments and rhythm, as appropriate.

9. Choose two contrasting choruses and write in detail about each.

10. Choose two contrasting solos and write an essay commenting on how melody and harmony have been used

in each.

11. Choose and discuss two different songs from musicals that you feel successfully reflect the characters being

portrayed.

12. Discuss the role of the chorus in any one of the musicals that you have studied.

13. Compare two scenes from the works that you have studied in which you feel that the music makes an

especially dramatic impact.

14. Examine the musical features of any one show of your choice that you regard as contributing most to its

popular appeal.

15. Compare and contrast two duets or vocal ensembles (but not choruses) from the works that you have

studied.

16. Choose two contrasting musical numbers intended for dancing on stage, and comment on how rhythm and

instrumentation are used to bring out the character of the dance.

17. Explain what is meant by ’32-bar song form’ and show how composers achieved variety in its use, drawing

on examples from at least two different musicals in your answer.

18. Examine two solo numbers from different musicals you have studied and, with reference to melody and

harmony, discuss the way the two pieces are structured.

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19. Compare two solo songs of a similar type by different composers from the works you have studied and

present your findings in an essay. For example, you could choose two comic songs, two romantic ballads or

two waltz songs.

20. Write an account of the word-setting in one of the songs you have studied, showing how the composer has

treated significant words and/ or important rhymes.

21. Choose a musical that you have studied which has a potpourri overture, and explain which numbers from

the show appear in the overture and how they are treated. (Consider if they are shortened, expanded,

transposed and so forth, and how they are linked).

22. To which part of a song does the term ’32-bar song form’ usually refer? How typical is the use of this form?

Give examples to illustrate your answer.

23. What is meant by a production number in a musical? Compare and contrast two.

24. Where in a musical might you hear each of the following numbers: (i) the finale, (ii) incidental music, (iii)

play-out music, (iv) an overture? Compare the structure of two musicals.

25. Choose two songs from the works that you have studied and use them to show how a composer adopts a

specific musical style to suggest a certain period in history or a foreign location.

26. ‘For a show to succeed, it needs at least one top song’. Analyse two songs by two different named

composers you have studied and explain the musical features that make them memorable parts of their

show.

27. Discuss the works of Kurt Weill and his influence on the genre of musicals.

28. Discuss the works of Richard Rodgers and his influence on the genre of musicals.

29. Discuss the works of Stephen Sondheim and his influence on the genre of musicals.

30. Discuss the works of Claude-Michel Schonberg and his influence on the genre of musicals.

31. Discuss the works of Jason Robert Brown and his influence on the genre of musicals.

32. How did musicals develop during the 20th and 21st centuries?

33. Any question asking you to talk about/ compare/ describe the development of:

a. Form

b. Harmony and tonality

c. Instrumentation and texture

d. Melody

e. Rhythm and metre

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Specimen essay questions – Jazz and Blues

1. Early jazz style of the 1920s was clearly influenced by Ragtime and Blues. Discuss the main features of both

genres, referring in detail to specific pieces you know.

2. Compare and contrast the rhythm and the instrumentation used in classical music, which is inspired by jazz,

commenting on the context, other interesting features and making reference to specific pieces.

3. Compare and contrast the melody and the texture used throughout the Bebop era, commenting on the

context and making reference to specific pieces.

4. Discuss the aftermath of the bebop jazz era. Compare and contrast two songs.

5. Compare and contrast the melody and the rhythm of All The Things You Are, Stomping at the Savoy and

Mysterioso, commenting on the context of the songs where relevant.

6. Compare and contrast the harmony/ tonality and the instruments/ texture of West End Blues, Muskrat

Ramble and Black and Tan, commenting on the context of the songs where relevant.

7. Choose one chamber work which marked a new departure in style or form during the period. Give an

account of your chosen work.

8. Show how the size and composition of jazz ensembles changed between 1920 and 1950. What effect did

these changes have on the arrangement of the music?

9. Assess the contribution of one composer to the development of jazz music.

10. How has jazz developed over the years? Use specific pieces from each key period to give evidence to your

answer.

11. Write an essay explaining the different types of music which existed in the early 20th Century which gave rise

to jazz. In your answer you should refer to specific composers and specific compositions commenting on

their use of musical form, melody, harmony, rhythm, texture and timbre as appropriate.

12. Plot the progress of the development of jazz formations from the five-instrument combos to the big band.

Refer to specific bands and pieces of music in your answer.

13. Some composers were more closely associated with music in the European orchestral tradition but still

found much inspiration from jazz. Choose two pieces of music and write about the jazz influences that are

evident.

14. Write an essay explaining the different types of music which existed in the early 20th century which gave rise

to jazz. In your answer you should refer to specific composers and specific compositions commenting on

their use of musical form, melody, harmony, rhythm, texture and timbre as appropriate.

15. Choose two jazz musicians. Write an essay assessing the contribution of each to the development of jazz.

Refer to specific pieces of music in your answer.

16. How did jazz influence mainstream music in Europe during the 20s and 30s? Refer in detail to specific pieces

of music by at least two composers in your answer.

17. Write an essay tracing the development of jazz from 1910 up to the beginnings of the ‘swing’ era in the early

1930s. Refer to specific pieces of music, commenting on melody, harmony, rhythm and use of instruments.

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18. Assess the contribution of one of the following musicians to the jazz world. Refer to at least one piece of

music, commenting on melody, harmony, rhythm and use of instruments. [Charlie Parker/ Louis Armstrong/

Gwilym Simcock/ Duke Ellington]

19. ‘The best jazz has at its centre a balance between composition and improvisation.’ Discuss this view through

referring to the music of at least two names jazz artists in detail.

20. Discuss the works of Louis Armstrong and his influence on the genre of musicals.

21. Discuss the works of Duke Ellington and his influence on the genre of musicals.

22. Discuss the works of Charlie Parker and his influence on the genre of musicals.

23. Discuss the works of Miles Davis and his influence on the genre of musicals.

24. Discuss the works of Pat Metheny and his influence on the genre of musicals.

25. Discuss the works of Gwilym Simcock and his influence on the genre of musicals.

26. Any question asking you to talk about/ compare/ describe the development of:

a. Form

b. Harmony and tonality

c. Instrumentation and texture

d. Melody

e. Rhythm and metre

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Sample Essay Guide

Essay Tips

Always do a plan

Always have a structure: o Intro- including some context for the reader, an argument and a clear direction for your essay o Individual paragraphs for the different elements of music – See PEAL o Conclusion- sum up main points, link back to argument/ question

USE PEAL – Point/ Example/ Analysis/ Link

Link back to the title regularly – make sure you actually answer the question set, not just pour out information you know!

Use signpost sentences – tell them where you are taking the essay o I will discuss/ explore/ evaluate/ develop/ investigate… o In terms of texture/ instrumentation/ rhythm/ melody/ harmony/ tonality/ structure/ form…

Have an argument – it will make the essay sound focused

Always use detail – bar numbers, which part, which motif/ rhythm/chord etc.?

Don’t assume that the examiner will know which section of a piece you are talking about when you use bar numbers – be explicit – ‘in the development section, bar x…’

Grammar, spelling etc. are very important, so make sure you take time to check your work.

Don’t use ‘you’ ‘we’ or ‘I’ if you can help it! Use words such as ‘the composer’, ‘the listener’, ‘critics’ and ‘academics’.

Here is my plan: How Does Beethoven develop material from the exposition in the development?

Intro – context/ sign post sentences Form/ Structure – sonata form movement

o development considered to be the strongest point, and point of most change/ experimentation in the piece

o Material from exposition always explored in the development – such as the slurred quaver idea and the dotted rhythm idea in this movement. (example of dotted rhythms – in strings, then bassoon from bar 70, from bar 9 in exposition/ example of slurred rhythms in woodwind, staggered from oboe in bar 72 onwards, from bar 1 in exposition)

o We also see some development of the ideas within the expositions itself, which is unusual (example: the slurred quaver movement (a rising fourth) is in the first violin part – bar 61-3)

Instruments/ texture – antiphonal writing seen in the development as part of the exploration of the rising slurred quaver idea between oboe, bassoon, and flute from bar 72.

Harmony/ tonality – The key goes from F to C, to Db and onwards in a chromatic fashion, only settling back in the original key at the end of the development (see Db chord in bar 70).

Rhythm – As well as the string and bassoon playing a continuous dotted rhythm idea, we see this developed in the timpani going from a continuous dotted rhythm effect to a drum roll (in bar 82 onwards) and as part of a solo in the first violin (in bar 94).

Melody – rising fourth idea extends to rising 7th in bar 72 (oboe) and a counterpart melody is added in the second violin and cello to extend the dotted rhythm idea (bar 96)

There are plenty of other points to be made – but these are the main ones to look out for!

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Sample Essay One – What is the grade? Mark this!

How Does Beethoven develop material from the exposition in the development?

Material is developed from the exposition in the development. Beethoven wrote this symphony in C major. This is the second movement.

The violins play some dotted rhythms in bar 71, this carries on until bar 80. Then the timpani play some dotted rhythms until they become a drum roll in bar 89.

There is a triplet in the first violin part in bar 45.

The key changes a lot in the development.

There are flutes, oboes, clarinets, bassoons, horns, trombones, timpani, violins, viola and cellos in this movement. Beethoven liked to use this combination a lot.

There is a slurred quaver movement in the first bar of the exposition, which comes back later, in the development.

The recapitulation is often the same as the exposition, but the material used in the development is not used here. In this movement the recapitulation is similar but different to the exposition.

Sample Essay Two – What is the grade? Mark this!

How Does Beethoven develop material from the exposition in the development?

Beethoven experimented in this symphony. Sonata form is traditional and was used a lot in Classical Music. I will explore how Beethoven uses rhythm, melody, texture, harmony and different instrumentation to expand ideas seen in the exposition in the development section. The development section was considered to be the strongest point of sonata form, and a point of most change and experimentation in the piece. Traditionally, material from the exposition was always explored in the development – such as the slurred quaver idea and the dotted rhythm idea in this movement. For example; the dotted rhythms from the exposition are seen in the strings, then bassoon from bar 70. The slurred rhythms, first seen in the first bar of the exposition, are later developed in the woodwind, staggered from oboe. The slurred quaver idea is passed between oboe, bassoon and the flute antiphonally in bar 72. The rising fourth interval is here developed to a rising 7th and octave. A countermelody is added, creating a two part counterpoint in the second violin and cello parts. The rhythms are especially passed between completely different families of instruments – for example; it is possible to see the dotted rhythm developed in the timpani. Beethoven takes the listener through various keys, resuming the original key at the end of the section. He uses chromatic harmony. In conclusion, it is clear that Beethoven extends his ideas from the composition, namely the dotted rhythms and slurred quaver motifs. We can see developments in his use of harmony, melody, rhythm, texture and instrumentation.

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Sample Essay Three – What is the grade? Mark this!

How Does Beethoven develop material from the exposition in the development?

Beethoven was a pioneering composer – he used traditional Classical forms, such as sonata form, and experimented with them to take his music forward into the Romantic era. This symphony, is just such an example of this experimentation. In this movement, which is in sonata form, it is possible to see that Beethoven has based his compositional technique on Classical foundations by exploring many of his ideas from the first and second subject in the development section. Unusually however, he also develops some of his ideas within the exposition itself. I will explore how Beethoven uses rhythm, melody, texture, harmony and different instrumentation in an innovative way to expand ideas seen in the exposition in the development section. In order to ascertain how advanced Beethoven’s compositional technique was here, it is important to begin with the structural points. The development section was considered to be the strongest point of sonata form, and a point of most change and experimentation in the piece, so this was to be crucial to Beethoven and his forward thinking. Traditionally, material from the exposition was always explored in the development – such as the slurred quaver idea and the dotted rhythm idea in this movement. For example; the dotted rhythms first seen in bar 9 of the exposition are later seen in the strings, then bassoon from bar 70. The effect of this continuous underlying dotted rhythm is one which propels the music forward. The slurred rhythms, first seen in the second violin part in the first bar of the exposition, are later developed in the woodwind, staggered from oboe in bar 72 onwards. As I mentioned in the introduction, Beethoven also develops ideas within the exposition itself, which was very unusual for the time, as can be seen in the rising fourth, slurred quaver movement which returns in the first violin part in bar 61-3 at different octaves. A key way in which to develop ideas was to present them in different instruments and textures. For example, the slurred quaver idea is passed between oboe, bassoon and the flute antiphonally in bar 72, the effect of which allows the listening to hear different timbres. Melodically, this section is interesting also – the rising fourth interval is here developed to a rising 7th and octave, augmenting the interval and exploring its potential. In another melodically interesting point, a countermelody is added, creating a two part counterpoint effect in the second violin and cello parts in bar 96. This allows Beethoven to further extend the dotted rhythm idea from the exposition. The rhythms are especially passed between completely different families of instruments – for example; as well as the string and bassoon playing a continuous dotted rhythm idea, it is possible to see this developed in the timpani going from a continuous dotted rhythm effect to a drum roll (in bar 82 onwards) and as part of a solo in the first violin (in bar 94). Harmonically, the development does much as one would expect of this section – Beethoven takes the listener through various keys, resuming the original key at the end of the section. Here, however, it is possible to see how much the composer is experimenting with tonality, as we can see a chromatic harmony, rather than a circle of 5ths expected (such as the Db chord in bar 70, following the section in C at the beginning of the section). In conclusion, it is clear that Beethoven uses a mixture of traditional and pioneering compositional techniques to extend his ideas from the composition, namely the dotted rhythms and slurred quaver motifs. We can see developments in his use of harmony, melody, rhythm, texture and instrumentation, which all experiment to the limits of the traditional Classical structure, sonata form.

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Shostakovich Essay A - What is the grade? Mark this!

Compare and contrast the first and second subjects in the first movement of Shostakovich’s Fifth Symphony. Consider aspects of texture and instrumentation, tonality and harmony, melody and rhythm as appropriate. (30)

The first subject is I D minor and begins loudly with lots of accents. The tempo is moderato and the strings play in canon and then the music quietens down and the violins then play a chromatic melody which is really the first subject Later the opening returns with the bassoons added and now the ‘cellos are playing pizzicato which means plucking the strings and the violins do a tremolo to make it sound shuddering. This carries on with not many instruments playing until the music gets much higher and louder and the violins and flutes keep repeating a top A which is the highest note on their instrument. Then it’s the woodwind playing and the oboe starts with a scale which is Phrygian which is like the beginning and then the first subject reappears with the ‘cellos and bassoons playing a countermelody. Horns play the dotted rhythms and finally the music gets very loud with all the melodies played together so it sounds like a cacophony and there is a piccolo clarinet. Flute play the notes E, F, G and A in that order which is the opposite way round from the first time in the violins and the trumpets play a fanfare in a different key at the same time. The second subject is when the harp comes in for the first time. Its written not arpeggiated which means play all the notes at once. This tune is supposed to have been written by Bizet because he was in love with Carmen but actually Shostakovich was in love with another woman but didn’t marry her so the music is in a minor key and he’s changed some of the pitches too. It sounds very mournful and often the chords don’t fit with the melody so there are lots of clashes. Shostakovich did this deliberately because he didn’t like the way Stalin was interfering with the way music should be written in Russia at the time. After the violins have finished the violas start the same melody, but this time it is lower and only accompanied by cellos. At the end, both the flute and the clarinet have solos which are unaccompanied and these show Shostakovich being lonely because he’d fallen out with the soviet regime. He often uses the word morendo which means dying. Just at the end – near figure 14 the violins and flutes play the repeated high notes which are similar to the ones in the first subject, but now the notes are Bb which is a semitone higher. It’s the way the composer is able to tie together the music of both subjects at the same time. In conclusion, both the first subject and the second subject are very different in texture and instrumentation, tonality and harmony, melody and rhythm but as I’ve pointed out some bits are the same. I’ve really enjoyed studying this piece.

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Shostakovich Essay B – What is the grade? Mark this! Compare and contrast the first and second subjects in the first movement of Shostakovich’s Fifth Symphony. Consider aspects of texture and instrumentation, tonality and harmony, melody and rhythm as appropriate. (30) Shostakovich stated in his response the Stalin’s criticisms of his previous works (Muddle instead of music) that this Fifth Symphony was intended ‘to show the making of man’. It is possible to presume that the first subject material (beginning to fig.9) represents the outward-looking, masculine attributes and the second subject (fig 9 – 17) the more intimate, personal and tender characteristics. The first subject is striking in its opening statement with its bold and authoritative treble- dotted rhythms, wide minor leaps, spare contrapuntal texture, ambiguous tonality and slow tempo. The second subject starts with an abrupt change of tempo, slightly quicker than twice the pace, and an insistent ostinato rhythm in the accompaniment above which the melody soars quietly in long sustained legato phrases. Both passages are scored for just strings, but whilst in the first subject the upper and lower strings appear to be in opposition, in the espressivo second subject the violin melody is supported by a chordal texture with the addition of a harp providing extra warmth and comfort. Having grabbed the audience’s attention, the first subject subsides into a clear D minor key with repeated tonics and dominants in the still canonic accompaniment above which Shostakovich brings in a plaintive melody descending through four notes of the whole tone scale which might possibly be an inversion of the phrase from Bach’s Cantata ‘It is enough’, a poignant reference at this point in Shostakovich’s career. The chromatic Eb which is highly dissonant against the D minor accompaniment begins a three note motif which will become very important in the development. The Eb resolves downwards to D representing Shostakovich’s own initials. The second subject begins most securely in Eb minor giving a sombre mood to the ‘L’amour’ melody from Bizet (originally in D major) which uses mostly rising intervals of octaves and sevenths. Both subjects develop much more chromatically, the first using all the notes of the chromatic scale in a winding melody which appears to meander aimlessly, although the intervals are largely conjunct and continue to use the dotted rhythms of the start. The opening melody returns at fig.2, this time at a quieter more menacing dynamic with the low bassoons doubled by pizzicato ‘cellos and basses underneath a shivering tremolo in the violins. Shostakovich then contrasts this with a passage (starting a t fig.3) which uses just the upper strings and flutes in a high register in a contrapuntal texture freely using the four- note whole tone scale idea in various developments and inversions. Later at fig.7 these ideas and motifs all combine in a defiant climax as the tessitura rises, the brass enter with military-sounding fanfares and the violins and flutes repeat high As which will become even more frightening again at the end of the whole symphony. The second subject develops much more peacefully, although again very chromatically as the Eb minor tonality dissolves and at fig.12 the upper violas take up the melody over a canonic accompaniment which develops the three-note motif from the first subject in retrograde (now starting on C- Eb – D in the second violas which adds the third letter of the composer’s name). Similarly low chords from the clarinets in their chalumeau register, bassoon and double bassoon again darken the mood before the flute, and then the clarinet take up another wandering legato melody starting in F# minor and using the same three-note idea. Finally at fig. 15 the original second subject returns, this time high in the violas above four-note repeated chords in the ‘cellos and basses starting in B minor and suggesting Shostakovich’s loneliness and sense of isolation from society. Finally the exposition ends with violas, and then ‘cellos, using the three-note motto idea in descending sequence completely unaccompanied. The exposition of this first movement clearly outlines the sense of conflict between the public and personal in Shostakovich’s life as seen by the contrasting musical elements in the two subject groups, although integrated through small details of rhythm and motif.

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Sample Essay Jazz Essay Candidate A – Below is a real essay as marked by the examiner in 2013. This got

29/30 – ‘Detailed knowledge and good understanding found here.’ Choose two of the following terms associated with the development of jazz. For each one, write an essay about a specific piece of music which you think is a good example of the style. You should refer to melody, harmony, rhythm, texture and use of instruments/voices, as appropriate. (30)

Be-bop blues ragtime swing The bebob style can be readily exemplified by the 1945 recording of ‘Kp-Ko’ made by Charlie Parker and Dizzee

Gillespie, the piece showcasing the melodc, instrumental, rhythmic and harmonic aspects of the genre. Benny

Goodman’s 1935 recording of ‘Stompin’ At the Savoy’ too can be seen as exemplifying the swing style of jazz.

Ko-Ko opens with an 8 bar theme, played in unison by both Parker on Saxophone and Gillespie on trumpet. The clear

move away that jazz took from the polypohony that defined the Dixieland era, on Joe Oliver’s ‘Willie the Weeper’

(on the final chorus) for example, is continued in bebop. There is also however a clear aversion to the antiphony that

defined swing; unison themes with no counter melodies were a defining feature of bebop. Structurally, the

‘sandwich structure’ of a theme sandwiching sections of improvisation, came about partly as a result of the

impossibility for antiphonic playing. The complex, extended harmony of bebop prohibits polyphonic playing, as

clashes become inevitable. Thus the stating of a unison theme became a common tool for beboppers.

Rhythmically, ‘Ko-Ko’ demonstrates the move away from the use of swung rhythms, up until this point, a defining

feature of jazz. Gillespie’s solo, beginning in bar 9 following the theme, slows a move to straight quavers, rather than

the convention of splitting the beat between the first part and slow second part. Bar 9 begins with a crotchet,

followed by a run of quavers. There is an example of rhythmic anticipation. Gillespie plays runs of quavers

consistently across the bars. The crotchet breaks up the momentum of the run momentarily, creating a rhythmic

tensions that is released when the run of quavers begins in bar 9 beat 2. This serves as an effective means of

phrasing the solos, even at the tempo of over 300 beats per minute that ‘Ko-ko’ was recorded at. The straight runs of

quavers and lack of swing showcases a more philosophical ideal of bebop; bebop was a music intended as an

expressive artform, a reclaiming of jazz by African-Americans disillusioned with the swing era. The lack of swing

makes ‘ko-ko’ difficult to dance to- the emphasis is on creating a complex music that stands as a piece of art, not

music for people simply to dance to.

‘Ko-ko’ demonstrates some of the idiomatic harmonic features of bebop also. Gillespie makes use of chromatically

descending runs to extend the underlying harmony, as in bar 9 beat 2. These chromatic runs are countered with

melody based upon rapid arpeggio figures, as in bar 10 where Gillespie plays a rapid E major 7 ascending melodic

run.

Instrumentally also, ‘Ko-ko’ showcases the typical bebop style. Kenny Clarke on drums showed a progression from

the style of Count Basie’s drummer, Jo Jones. Whereas Jones transferred the beat from the bass drum to the highest

to create a unique style of swing, Charlie transfers the beat onto the cymbal. The effect of this is to create a

consistent beat which is less easy to follow, as well as to create a more ‘shimmering’ timbre to the drums. The

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technique of ‘dropping bombs’, interspersing random accented bass notes, is showcased also. Present also is the

‘comping’ piano style, moving away from the constant harmonic underpinning of stride piano, again to avoid clashes.

Benny Goodman’s 1935 recording of ‘Stompin’ at the Savoy’ showcases many features idiomatic of the swing style.

Instrumentally, emphasis is put on the brass and saxophone sections, which engage in a typical antiphonal call and

response throughout the second chorus. During the first chorus, a demonstration of the further move away from

polyphony can be seen – saxophones, playing in unison, as is often the case in swing, the alternative often being

sections playing in parallel motion, play a melodic statement over a rhythm section which homophonically outlines

the harmony in regular crotchets. The saxophones being given to melodic emphasis was a typical feature of the style.

The size of the orchestra employed by Goodman reflects the grandeur of the setting of swing and the affluence of

the young, wealthy, predominantly white Americans who were drawn to Goodman’s music.

Rhythmically, the piece showcases many typical features of swing. The piece is played at a swung, leisurely tempo.

However, as the size of swing bands grew, true swing became an impossibility. ‘Stompin’ at the Savoy’ showcases

‘formal swing’, rhythmic effects being used to create the swung feeling. For example, during the first chorus, the

saxophones hold a sustained minim at the end of each melodic phrase, as at the end of beats 2 and 4. This held

minim anticipates the downbeat, resulting in an emphasising of the overall feeling of swing.

‘Stompin’ at the Savoy’ was arranged by Fletcher Henderson and shows Henderson’s frequent use of antiphony,

drawing from the call and response of African American church songs, notably in the second chorus. Brass and saxes

frequently ‘trade two’s, one playing a two bar phrase, answered by the other.

Thus, it can be seen that both ‘Ko-ko’ and ‘Stompin’ at the Savoy’ showcase the styles of bebop and swing

respectively. Both showcase also the progression and development that has been made from the proceeding jazz

era.

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HOW MUSICAL IDEAS AFFECT THE LISTENER’S EMOTIONS/ WHAT IS THE EFFECT CREATED

BY THE MUSIC – at A level

Difference between Affect and Effect There is often confusion over the words effect and affect.

A LITTLE TRICK TO SPOT EFFECT

The word effect has several meanings. It can mean outcome, consequence, or appearance. Try using one of

these instead of effect. If the sentence still makes sense, then effect is almost certainly correct.

A LITTLE TRICK TO SPOT AFFECT

Try using the verb to transform(in its various forms, e.g., transforming, transformed,transforms) instead of

affect

Musical idea Effect that can be created

Building up texture/ dynamics/ rising in

pitch/ becoming more dissonant

Creates tension builds excitement. Adds drama.

Opposite of above Calming, decreasing tension, release from tension

Stillness, peace, tranquillity, innocence.

A completely new musical idea Fresh idea/ contrast of mood

Hymn like homophonic texture Hymn-like

Eg soft gentle with flutes/oboes May sound pastoral (to do with the countryside) mimicking

nature bird calls, babbling brooks

horns Can be used to sound like distant hunting horns may also

be added to a pastoral effect.

Brass, especially trumpets Can be used to suggest a military/ warlike mood particularly

in conjunction with percussion like side drum

Shostakovich may use this to imply the military strength of

the Soviet union SEE CELEBRATORY LATER

Very low pitch and minor keys can sound

sinister and threatening.

can sound sinister and threatening. rumbling

Still in same key / return to tonic Familiarity a sense of homecoming.

Going to more distant keys Unfamiliar

Monophonic texture A single instrument playing can evoke a sense of loneliness/

vulnerability

COMICAL: Difficult to give precise examples but occasionally

composers aim for comical effect eg by giving a very low

pitched instrument a little dance tune which has the same

effect as a cartoon elephant in a tutu would visually

The brass/percussion military combination May also be used in a celebratory/ victorious way eg 1812

overture Russians beat Napoleon’s army.

Extremes of pitch both extremely low and

high

Can sound very alarming. Think of the opening of the movie

Jaws and of the music for the shower scene in Psycho.

(screeching violins)

Any music with a strong sense that you

could dance to it

Especially if a recognisable dance style eg jig

Dance-like

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6/8 or waltz (um pa pa)

Appoggiaturas and suspensions can HELP

create:

(especially in a minor key)

Nostalgic/ yearning for eg lost love

That’s because they sound a bit like someone sighing

Minor key/ major key Broadly and crudely associated with sad/happy but be

careful as many composersuse them to mean the opposite

so it depends on other features of the music!

Gentle/soft Tender and moving

Lively quite dance like major key happy Jollity.

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Suggested Listening

Area of Study 2: Pop music

Stevie Wonder

For Once in my Life, from For Once in my Life (1968)

Signed, Sealed, Delivered, from Signed, Sealed, Delivered (1970)

Superstition, from Talking Book (1972)

You Are the Sunshine of My Life, from Talking Book (1972)

Sir Duke, from Songs in the Key of Life Joni Mitchell

Big Yellow Taxi, from Ladies of the Canyon (1970)

River, from Blue (1971)

Carey, from Blue (1971)

A Case of You, from Blue (1971)

Help Me, from Court and Spark (1974) Muse

Stockholm Syndrome from Absolution (2003)

Supermassive Black Hole, from Black Holes and Revelations (2006)

Uprising, from The Resistance (2009)

Supremacy, from The 2nd Law (2012)

Beyoncé

Crazy in Love, from Dangerously in Love (2003)

Listen, from B’day (2006)

Single Ladies, from I Am… Sasha Fierce (2008)

Best Thing I Never Had, from 4 (2011) Daft Punk

Around the World, from Homework (1997)

One More Time, from Discovery (2001)

Harder, Better, Faster, Stronger, from Discovery (2001)

Get Lucky, from Random Access Memories (2013)

Labrinth

Earthquake, from Electronic Earth (2012)

Express Yourself, from Electronic Earth (2012)

Beneath Your Beautiful, from Electronic Earth (2012)

Let It Be, from Take Me To The Truth (2015) Jealousy, from Take Me To The Truth (2015)

Area of Study 3: Music for media

Film scores - Gaming Music –

Bernard Herrmann

Psycho

Vertigo

Citizen Kane

North by Northweat

Taxi Driver Hans Zimmer

Pirates of the Caribbean

Inception

Gladiator

12 Years a Slave

The Dark Knight Rises

Rain Man

The Lion King Michael Giaccino

Call of Duty or Medal of Honour

Lost

Up

The Incredibles

Mission Impossible III

Nobuo Uematsu

Opening Medley

Rebel Army (II)

Terra’s Theme (VI)

Aerith’s Theme (VII)

One-winged Angel

Fragments of Memories (VIII)

Vamo alla Flamenco (IX)

At Zanarkand (X)

Ronufaure (XI) Lost Odyssey

Light of Blessing/ A Letter Blue Dragon

Cave

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Star Trek into Darkness Thomas Newman

American Beauty

Skyfall

Saving Mr. Banks

The Shawshank Redemption

Finding Nemo

*Area of Study 4: Music for Theatre* *Area of Study 5: Jazz*

Kurt Weill

Alabama Song, from Rise and Fall of the City of Mahagonny

Havana Song, from Rise and Fall of the City of Mahagonny

Ballad of Mack the Knife, from The Threepenny Opera

Jealousy Duet, from The Threepenny Opera

Pirate Jenny, from The Threepenny Opera Richard Rogers

Oh, What a Beautiful Mornin’, from Oklahoma!

Lonely Room, from Oklahoma!

Oklahoma!, from Oklahoma!

Louise’s Ballet: Pas de deux, from Carousel

What’s the Use of Wond’rin?, from Carousel Stephen Sondheim

Prelude, from Sweeney Todd

Green Finch and Linnet Bird, from Sweeney Todd

A Little Priest, from Sweeney Todd

My Friends, from Sweeney Todd

On The Steps of the Palace, from Into The Woods

Agony, from Into The Woods

Giants in the Sky, from Into The Woods

Last Midnight, from Into The Woods Claude-Michel Schönberg

I’d Give my Life for You, from Miss Saigon

Bui Doi, from Miss Saigon

I Still Believe, from Miss Saigon Jason Robert Brown

Still Hurting, from The Last Five Years

Moving Too Fast, from The Last Five Years

This is Not Over Yet, from Parade

All the Wasted Time, from Parade

Louis Armstrong

St. Louis Blues (1924, Louis Armstrong and Bessie Smith)

Muskrat Ramble (1926, Louis Armstrong and his Hot Five)

West End Blues (1928, Louis Armstrong and his Hot Five)

Stardust (1931, Louis Armstrong and his Orchestra)

Duke Ellington

The Mooche (1928, Duke Ellington and his Orchestra)

Ko-Ko (1940, Duke Ellington and his Orchestra)

Come Sunday, from Black, Brown and Beige Charlie Parker

Ko-Ko (1945, Charlie Parker’s Reboppers)

A Night in Tunisia (1946, Charlie Parker Septet)

Bird of Paradise (1947, Charlie Parker Quintet)

Bird Gets the Worm (1947, Charlie Parker All Stars)

Miles Davis

So What, from Kind of Blue (1959)

Shhh, from In a Silent Way (1969) Pat Metheny

(Cross the) Heartland, from American Garage (1979)

Are you Going With Me?, from Offramp (1982) Gwilym Simcock

Almost Moment, from Perception (2007)

These Are the Good Days, from Good Days at Schloss Elmau (2011)

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Area of Study 6: Contemporary traditional music Area of Study 7: Art music since 1910

Astor Piazzolla

Libertango, from Libertango

Knife Fight, from Rough Dancer and the Cyclical Night

Milonga del Angel, from Tango: Zero Hour

Yo Soy Maria, from Maria de Buenos Aires

Fear, no.5, from Tango Sensations (with the Kronos Quartet)

Diabete

Bi Lamban, from New Ancient Strings

Ali Farke Toure, from Mandé Variations

Kala, from In the Heart of the Moon Shankar

Swarna Jayanti’ (Golden Jubilee), from Anourag (with Ravi Shankar)

Prayer, in Passing, from Rise

Oceanic part 1, from Breathing Under Water

The Sun won’t Set, from Traces of You (with Norah Jones)

Mariza

Loucura, from Fado em min

Oiça lá ó senhor vinho, from Fado em min

Silêncio da guitarra, from Fado curvo

Recurso’, from Terra

Mais uma lua, from Fado tradicional Bellowhead

Sloe Gin, from Burlesque

The Outlandish Knight, from Burlesque

New York Girls, from Hedonism

Roll the Woodpile Down, from Broadside

Roll Alabama, from Revival

Shostakovich

Symphony no. 5 in D minor, movt. 1

Piano concerto no.2 in F major, movt. 2

String quartet no.8 in C minor, Movt. 1

Jazz Suite no.2, waltz Messiaen

L’Ascension, part 1 – in the version for solo organ

Quatour pur la fin du temps, movt. 2

Turanglîla-symphonie, movt. 1

L’alouette calandrelle, from book 5 of Catalogue d’oiseaux

Reich

Different Trains, movt. 1

Music for 18 musicians, 1 movt. 1 Pulses

Tehillim, movt. 2 MacMillan

Veni, Veni, Emmanuel, movt. 3 Dance

Momento for String Quartet

Strathclyde Motets, no. 5 O radiant dawn

Seraph for Trumpet and String Orchestra, movt. 1

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Command words

Command words are the words and phrases used in exams and other assessment tasks that tell students how they should answer the question.

Acknowledge

To give credit for, recognise, and highlight something, such as a selected source or the work of others.

Analyse

To examine in depth, study thoroughly, question, investigate and consider your own opinion or visual investigation of something.

Apply

To use knowledge, skills and understanding and to employ appropriate techniques when developing and progressing ideas.

Appropriate

Suitable, relevant, applicable to intention.

Consider

To think through, review, reflect on and respond to information or a theme, subject or starting point.

Demonstrate

To show, exhibit, prove or express such things as subject specific knowledge, understanding and skills.

Develop

To take forward, change, improve or build on an idea, theme or starting point.

Discuss

To deliberate, consider, talk over, debate or examine something.

Explore

To investigate, examine and look into with an open mind about what might be found and developed.

Evidence

To show, prove, support and make clear or verify something.

Identify

To recognise links and associations between things such as sources and connections with personal work, accounting for choices and decisions made.

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Present

To give a response to an idea, theme or starting point that shows a personal, meaningful and organised fulfilment of intentions.

Realise

To achieve, attain and/or accomplish your intentions.

Record

To document ideas, thoughts, insights and responses to starting points in visual and written annotated form.

Refine

To improve, enhance and change elements of your work for the better.

Research

To study in detail, discover and find information about.

Respond

To produce personal work generated by a subject, theme, starting point, or design brief.

Show

To indicate, explain, present and display your own thoughts and findings.

State

To express clearly and briefly your intentions.

Study

To examine, consider, investigate, research and show an in-depth understanding of what you have found or experienced.

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7. Reading list and Useful websites

Recommended:

AQA study Guides from Rhinegold/ ZigZag education or AQA Online.

Spotify - for your musical topic

Set Work CD – we will provide these for you

Scores for annotation – we will provide these for you

Blank scores – we’ll keep these until your exam

Websites:

AQA A level Music site: http://www.aqa.org.uk/subjects/music/a-level/music-2270

It also helps to look up the official site of each composer and artist you are studying.

Youtube and BBC iplayer can be very useful for videos of documentaries about the songs/ composers/ artists/ periods you are studying

8. Resources

Resource When you need it Period/ Week

Your Instrument

All performance lessons

Your A level folder

Every lesson

Your Course Booklet

Every lesson

Paper

Set work lessons

Pen, pencil and rubber

Every lesson

Highlighters

Set works lessons

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9. Music Expectations at A level

Your teachers will periodically check that you have filled this in, or what you are doing to improve.

Targets/ Actions Actions taken/ Details

I understand that I must follow the 6th form school policy in terms of behaviour in lessons and around school.

I understand that I must have the correct equipment at all times – see Resources.

I have set up a named file for my work

I understand that if I miss a lesson I must catch up on work and complete the homework (this must happen before the next lesson unless I

return to school on the day of the next lesson).

I understand that checking what homework is set is my responsibility and I must check before the next lesson to ensure I have the full details

I understand that I must bring in my homework on time in order to have it marked, and to improve by feedback.

I understand that the responsibility to learn and improve is mine, and that I may be able to ask my teacher for support in this.

I understand that I must practice my performance pieces in my own time and be ready to record.

I understand the theory issues (by Christmas of Year 12)

I understand the context surrounding and musical features of the Western Classical Set Works

I can write an essay comparing and exploring the musical features, development and context of Musicals, especially looking at chorus numbers, duets, character songs and dance numbers.

I can write an essay comparing and exploring the musical features, development and context of jazz between 1900-50.

I will have finished my composition coursework by Easter of Year 13.

I will have performed and recorded all my performances by Easter of Year 13.

I have revised to the best of my ability for my mock papers and final written exam.

I know my target grade, it is

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10. Homework monitoring

Homework Monitoring Teacher 1: Homework task I have completed home learning for the following lessons and have

made a note here of anything I got wrong or need to work on. Information for this will be obtained from self-marking thoughts, peer marking feedback, teacher feedback (both written & verbal)

RAG Date

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Homework Monitoring Teacher 2: Homework task I have completed home learning for the following lessons and have

made a note here of anything I got wrong or need to work on. Information for this will be obtained from self-marking thoughts, peer marking feedback, teacher feedback (both written & verbal)

RAG Date

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11. Personal Statement Log